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Full text of "Variety (October 1952)"

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VOL. 188 No. 4 


Published Weekly at 154 West 46tb Street, New York 36, N. Y., by Variety, Inc. Annual subscription. $10. Single copies. 25 cents 
Entered as second class matter December 22, 1905, at the Post Office at New York, 'L Y., under the act of Ma rc h 3, 1879*. 

COPYRIGHT, 1952, BY VARIETY. INC. ALL RIGHTS RESERVED 

m ^ 


NEW YORK, WEDNESDAY, OCTOBER 1, 1952 


PRICE 25 CENTS 


RECORD INDUSTRY’S 75TH ANNI 


Ike’s $2, 000, 000 Radio-TV Spot 


EDISON SPARKED DM* Fastest Route to Boffo B.O. 


Splurge to Wind Dp Campaign |||m]|||||||[]||| BIZ An(l From JK to $1500 Wkly. 


What is probably the most inten- 
sive saturation spot campaign in 
the annals of American broadcast- 
. ing will wind up . the Dwight D. 
Eisenhower-for-President election 
campaign in the final three-week 
stretch. 

With a war chest of $2,000,000 
(now being raised in an all-out 
drive being masterminded by John 
Hay (Jock) Whitney), the Eisen- 
hower forces are now in the process 
of buying up all the station break 
availabilities on all television and 
radio stations in all the strategic 
areas throughout the nation. These 
will be spotted over a 21vday pe- 
riod leading right up to Election 
Day, all carrying- a- -personal “get 
behind me’' message from the GOP 
Presidential -aspirant. • 

A number of the nation’s major 
advertisers have agreed to relin- 
quish their contracted time on 
.radio and television to pave the 
way for the Ike spots. CBS over 
the • weekend finalized that web’s 
hefty chunk of spot biz, arranging 
for preemptions,- etc. 

The saturation campaign will be 
confined to limited areas, where 
the need for additional Eisenhower 
support is felt to be the strongest. 

While regular national advertis- 
ers in the past have pacted for 
$2,000,000 worth of spots, it’s the 
first time that such coin has ever 
been poured into a three-week sat- 
uration campaign. Multiplied In 
(Continued on page 127) 

Coast Trust-Buster 
. Aims to Force Oldies 
To Be Sold to Tele 

Hollywood, Sept. 30. 
Release of backlogs of old films 
to television is the ultimate aim of 
the U.S. Department of Justice in 
its -16m antitrust action against 
the major studios. That was the 
s atcmcnl. pt .WiUiam ^ CL Dixon., 
5, °i the antitrust division on 
the Coast, at a meeting of the Na- 
tional Society of Television Pro- 
ducers in Hollywood. * 

Dixon will be chief prosecutor 
when the case comes up for trial. 

dmitting that it would be an eco- 
nomie hardship on the film indus- 
try to force the release of new pic- 
ures, he said the real object in 
the suit is the backlogs. 

He added that the Justice De- 
partment feels* that a conspiracy 

voni tS rnTr m ? ng the ma 3° rs t.o pre- 
cwi? V I™™ using its P^duct. 
hihif ^ 10nad - ubout the effect on ex- 
]W he said; “ It,£5 a Question of 
hi f e , nf °rcement t not to be guided 

giaups” interests of an y special 


O'Connor to Get Scale 
For Nitery One-Shot 

Hollywood, Sept. 30. 

Donald O’Connor will do a nitery 
stint New Year’s Eve — at straight 
AGVA scale. 

O’Connor, who is prepping a nit- 
ery routine with Gwen Carter and 
Sidney Miller, agreed to do a one- 
nighter for Martin Prell, owner of 
the new Sahara Hotel, Las Vegas, 
which opens its doors in a fort- 
night. Prell is an old friend of the 
O’Connor family, dating back to 
vaude days. 

New Year’s Eve was the only 
night O’Connor had open — so he 
will be the holiday attraction at 
the spot and give his new nitery 
act a break-in while repaying old 
favors. 

Series Coverage 

Down to Fine TV 
Point; No Changes 

World Series, which opens again 
today (Wed.) to the biggest base- 
ball audience in history because of 
television’s rapidly-expanding set 
circulation, will have no radical 
changes in TV coverage technique. 
Indicating that the art of picking 
up a baseball game on video is 
now an exact science, camera di- 
rectors who will call the shots from 
both Brooklyn’s Ebbets ‘Field and 
Yankee Stadium, N.Y., told Variety 
this week their systems of cover- 
(Continued on page 23) 

RADIO-TV ACTS SHYING 
TR0MADEAI STUMPING? 

There have been recurring re- 
ports that radio-television person- 
alities have been given the high 
sign to stay in the background and 
remain non-committal on their 
political allegiance in the election 
campaign. 

As result, the Stevenson-for- 
President forces entrusted with 
the task of lining up show biz sup- 
port on .fund-raising benefits, con- 
fessed this week that they were 
practically ready to throw up their 
hands in despair over their inabil- 
ity to recruit name performers. 

The Stevenson committee in 
N.Y. admits it is completely con- 
(Continued on page 127) 


By JIM WALSH 

Directly or indirectly, the record 
industry has poured millions of 
dollars into the pockets of show 
biz; Recording artists, music pub- 
lishers, songwriters, arrangers and 
others all have shared, and still 
share, in the take. But if Thomas 
Alva Edison hadn’t shouted “Mary 
Had a Little Lamb” into a crude 
cylinder contrivance 75 years ago 
and If Eldridge Johnson hadn’t 
founded his Victor Talking Ma- 
chine Co. at the turn pf the cen- 
tury and unrelentingly plugged the 
home entertainment aspects of the 
hew machine, the platter bonanza 
might never have materialized. 

Because the phonograph is now 
observing its diamond anniver- 
sary this seems good time to pay 
tribute to Edison's favorite inven- 
tion and Johnson’s founding of the 
modern industry from the show- 
man’s standpoint and trace briefly 
its development from days when 
Edward M. Favor became the first 
professional to make a record to 
the present-day era of echo cham- 
bers, self-accomp disking and kin- 
dred electronic gimmicks. 

In a nutshell, Edison was respon- 
sible for conceiving the instrument 
and developing the working model. 
Johnson, combination of artist, 
businessman and inventor, con- 
tributed not only many technical 
advances, but most important, ele- 
vated the machine to the status of 
a musical instrument and vigorous- 
(Continued on page 96) 


Next R»cky-Joe 
Go on Home TV? 


Chicago, Sept. 30. 

Present indications point to the 
return championship match be- 
tween Joe Walcott >and Rocky Mar- 
ciano being shown on home televi- 
sion under the banner of the Pabst 
Brewing Co., sponsors of the reg- 
ular Wednesday night Internation- 
al Boxing Club’s bouts on CBS 
radio and TV. Dickering is cur- 
rently under way between the suds 
firm and the IBC and it’s under- 
stood Pabst will go as high as 
$125,000 for the title fight. 

The second go-aroun<f between 
Jersey Joe and Rocky has been ten- 
tatively set for early next year 
with the Chi Stadium as the likely 
site. The first tiff last 1 week was 
grabbed off by Theatre Network 
Television and was fed to 50 thea- 
tres across the country with home 
(Continued on page 4) 


‘Running Out of Yokels,' 
Tex. Fair Cleans Midway 

Dallas, Sept. 30. 

R. L. Thornton, prez of the State 
Fair of Texas, says there will be 
no off-color shows on the midway 
this year. Further, there will be 
no bingo or similar games. 

According to Thornton, “we’re 
trying to build the cleanest mid- 
way in America.” In addition 'to 
that, “America is running out of 
yokels,” he pointed out in an ad- 
dress before a group of local min- 
isters and laymen. 

Last year the city manager 
blacked out the State Fair mid- 
way, closing 44 of the 45 game 
concessions on the ground that 
they were form? of gambling. 

GlennFordWouId 
Use Free Pix Tix 
As Vote Incentive 

By MIKE KAPLAN 

Hollywood, Sept. 30. 

A nationwide all-industry cam- 
paign to spur the drive to get 
every registered voter to the polls 
on election day by offering them 
free admissions is suggested by 
actor Glenn Ford. Scheme, which 
he has labeled “Voter’s Open 
(film) House,” would encompass 
each and every situation in the 48 
states and be tied directly to local 
campaigns to stimulate greater in- 
terest in the national elections. 
“Organizations all over the coun- 

(Continued on page 18) 

COAST DISK JOCK USING 
PHONE TO NIX AGVA BAN 

Hollywood, Sept. 30. 
Dee jay George Jay probes what 
he thinks is a loophole tonight 
(Tues.) in American Guild of Vari- 
ety Artists’ edict that any member 
appearing on a disk jockey program 
emanating from a cafe or eatery 
must be paid. Jay is going to Inter- 
view performers by telephone. 

Currently working at The King’s 
Restaurant, Jay came up with the 
scheme to circumvent the AGVA 
ban, which hit. his four-hour nightly 
program hard sinpe he leaned 
heavily on personalities to brighten 
(Continued on page 121) 


F By ABEL GREEN 

The manner in which the record 
today is “king” of Tin Pan Alley 
has been under discussion and re- 
appraisal within the music biz 
generally for some time. The man- 
ner in which a hit record can pro- 
ject a personality into household 
fame and pyramid the newcomer’s 
earnings to fabulous proportions 
is an ever refreshing phenomenon 
of show biz. 

A record today means more for 
an artist than a hit film, a hit 
radio program or a hit TV show. 
There are more people trying to 
get onto records nowadays than 
into Hollywood. It is the quickest 
and most surefire way for na- 
tional and international acclaim as 
witness only the latterday clicks of 
such diverse personalities as John- 
nie Ray, Frankie Laine, Guy 
Mitchell, Patti Page, Rosemary 
Clooney and the Four Aces. 

From nowhere they have climbed 
into potent boxoffice forces and 
fabulous earning power that makes 
a Hollywood star’s income look 
like a tip to a bellhop. 

These disk-made personalities 
are all illustrative of that new show 
biz theorem: the shortest route to 
the $7,500-$10,000 a week class is 
around a platter groove. Ray came 
out of Cleveland and Detroit 
taverns, at $75 a week, into the big 
time via his Columbia and Okeh 
etchings. 

The same rag-to-riches saga 
holds for such other newcomers as 
Guy Mitchell, Don Cornell, Tony 
Bennett, the Four Aces, all of 
(Continued on page 72) 


Wilmington Hotel OK On 
‘Climate’ Negro Actors 
Under Revised Policy 

Through the quiet efforts of 
several influential show business 
figures, Negro actors will now be 
admitted to the Hotel duPont, 
Wilmington. New policy will be 
effective next week when the new 
Moss Hart play, “Climate of Eden,” 
plays a three-day tryout at the 
Playhouse, Wilmington. Hotel and 
theatre, both in the same building, 
are owned by the duPonts. 

When the question of the hotel’s 
racial policy arose with the booking 
of “Eden” into the Playhouse, 
several friends of the show’s man- 
agement sought to solve the situa- 
tion quietly. Idea was that if the 
hotel were approached in an ami- 
cable spirit, without allowing public 
attention to create a controversy, 
(Continued on page 127) 


RCA VICTOR’S 50 Years of Progress 

Special Section Starts on Page 28 




»n$(lUUNY 


PSsuEfr 


Wednesday, October 1, 1952 


Chaplin Gets Bid to Command Vaude 
Show; British Rap McGranery Move 


London, Sept. 23. 4 

Bids are being made to Charles 
Chaplin to take part in the Royal 
Command variety show at the Lon- 
don Palladium Nov. 3. If Chaplin 
accepts, it would mean that, in 
company with other participating 
artists, he will be presented to the 
Queen, -the Duke of Edinburgh and 
other members of the royal family. 

Press coverage on Chaplin’s re- 
turn to London has been on an un- 
precedented scale, far outstripping 
the space normally given to visit- 
ing royalty and other distinguished 
celebrities. His visit was preceded 
by newspaper and mag biographical 
series, and the news while en route 
of IT. S. Att. Gen. James P. Mc- 
Granery’s baiTaction got an almost 
unanimous press reaction. News- 
papers of all political sides were 
critical of the action. 

The People, in a lead article, 
said the decision was “really too 
much to stomach from the big 
brother of democracy. It’s the most 
grave move that has so far been 
. (Continued on page 127) 


CANTOR PROGRESSING 
IN HOSP AFTER ATTACK 

Hollywood, Sept. 30. 

Eddie Cantor is reported making 
progress at the Cedars of 
Lebanon Hospital here following 
a heart attack at his home early 
Monday morning (29). Attack fol- 
lowed by a few hours his television 
show on Colgate Comedy Hour on 
NBC-TV, Sunday (29), which has 
been widely • acclaimed as one of 
his best. 

As a result of the attack, Cantor 
is forced to call off his tour on 
behalf of the Red Cross Blood 
Bank and Bonds for Israel. He 
was to have started the jaunt to- 
day (Tues.). 

Prior to the show, Cantor com- 
plained of a chest pain. He was 
examined after the telecast by his 
medicos, but electro-cardiograph 
showed no alarming symptoms. He 
went to Temple for Yom Kippur 
services following the examination. 
Attending Cantor are Drs. Julius 
Kahn and Edward Shapiro. Dr. 
Eliot Corday was called in as con- 
sultant. 


Jessel Dickers Gleason 
For ‘Sweet 16’ Biopic 

For his second projected indie 
pic production since exiting 20th- 
Fox studios, George Jessel is* 1 
dickering with Jackie Gleason to 
star in a biopic of oldtime song- 
writer-vaudevillian James Thorn- 
ton. Latter is best known for 
“When You and I Were Sweet 16.” 

As his first venture, Jgssel has 
plans for a Jimmy Durante starrer, 
“Rip Van Winkle.” 


Paris Lifts Ban on ‘Zola’ 

Paris, Sept. 30. 

“Life of Emile Zola” (WB), here- 
tofore banned here because of the 
toiichy French attitude towards the 
Dreyfus case handled in the film, 
has been given special licensing to 
appear here at Studio 28 during the 
50th anni of the death of Zola. Pic 
was made in 1937. 

Film has been shown privately 
during the last few years but this 
will be the first public showing. 
Studio 28 is a small-seater art 
house. 


HUTTON ROCKS ’EM 
ATTAttADfUM BOWf 

London, Sept. 30, 
Betty Hutton proved to he the 
liveliest headliner of the season at 
her Palladium opening yesterday 
(Mon.). Supported by the Skylarks, 
Miss Hutton received a vociferous 
ovation for a boisterous show last- 
ing an hour. 

Stint was highlighted by her re- 
creation of the Blossom Seeley 
role in “Somebody Loves Me” (Par) 
and climaxed with an expert tra- 
peze act. 

Truman Plugs for Wash. \ 
Music Hall, Opera House; 
Aids Symph Orch Drive 

Washington, Sept. 30. 
Washington needs an auditorium 
seating 40,000, plus a music hall 
and opera house, President Tiruman 
said here last Friday (26). (Speak- 
ing at the opening luncheon of the 
National Symphony’s subscription 
drive, he said the capital should be 
developed into the greatest music 
centre in the world. ' . - 

The President, who took time out 
from a crowded schedule to hypo 
interest in the orch’s drive by his 
appearance at the luncheon, took 
a sock at Congress for its failure 
to vote bills to give the city a large 
opera .house and entertainment 
centre. He pointed out that he had 
fought for this during his Senate 
days and still urged such an ap- 
propriation. 

The President was rewarded for 
his patronage of the town’s sym- 
phony group and his keen interest 
in music by being tabbed “the 
most musical President in history.” 
A scroll bearing this testimonial, 
and expressing appreciation to him 
for lending “the prestige and dig- 
nity of his high office to the cause 
of good music,” was presented to 
Mr. Truman, by Gordon S. Reid, 
prexy of the National Symphony 
Orchestra Assn. Mrs. Truman wit- 
nessed the award. 

With a slogan of “music for the 
entire family,” current drive is 
accenting a number of musical in- 
novations, including a concert for 
the under-six moppet set. Spurred 
on by its record-breaking sale last 
season, during which it led all 
longhair orchs in the country for 
percentage of gain in subscriptions 
and b.o., group aims for a season 
sellout this year. Last year’s gain 
was 25% over the previous season. 

Hypoing interest in the drive is 
the announcement that Dr. Howard 
Mitchell, the orch’s maestro, has 
been named winner of this year’s 
Henry Hadley Award for having 
played more works of American 
composers last season than any 
otheF conductor. - Mitchell has just 
returned from Austria, where he 
was sole U. S. judge at the Meister- 
singer Music Festival. 



FRANK UBUSE 

NOW STARRING with 
MARGOT BRANDER 
Club Lido 

Champs Elysees, Paris, France 
EIGHTEENTH WEEK 
And Still Continuing 
Personal Management 
AL GROSSMAN 
1270 Sixth Ave., New York 


S 


Deke Aylesworth, 

Ex-NBC, RKOPrez, 
Dies in N.Y. at 66 


Merlin Hall (DekeV Aylesworth, 
66, first president of NBC and later 
chief exec of Radio-Keith-Orpheum 
and its various affiliated groups, 
died at St. Luke’s Hospital, N. Y., 
yesterday (Tues.). He had Suffered 
from a liver ailment and had been 
in St. Luke’s since last April, 
weakening steadily because of a 
disinclination to eat. 

A native of Cedar Rapids, la., 
Aylesworth was probably the only 
triple-threat showman, serving as 
an exec in radio, motion pictures 
and the newspaper publishing in- 
dustry, as well as vaudeville. Be- 
sides being prez and board chair- 
man of RKO Pictures and the 
Keith- Albee Corp., he was also on 
the exec board of the Scripps-How- 
ard newspaper chain for a year 
and, from 1938-40, was publisher 
for Roy Howard of the N. Y. 
W orld-Telegram, 

Aylesworth spent his youth in 
Colorado, receiving a law degree 
from the U. of Denver. He entered 
local politics soon after his gradua- 
tion and served for a time as Re- 
publican' chairman of Larimer 
County, Col. In 1914, he. became 

(Continued on page 23) 




. 3 

...20 


12 

20 

21 








10 


14 

6 

10 


6 


Rooney to Korea 

Hollywood, Sept. 30. 

Mickey Rooney and five other 
entertainers planed west from 
Travis Air Base for a 21-day tour 
of military posts in Korea, Japan 
and Hawaii. 

Others in the troupe are Alice 
Tyrell, Denah Prince, Red Barry, 
Dick Winslow and Ukie Sherin. 


10/1 


Subscription Order Form 

Enclosed find check for $ 

Please send VARIETY for yews 


To 


(Fleaso Print Name) 


Street 


City . Zone.... State 


i 


Regular Subscription Rates 
One Year — $10.00 Two Years— $1 8.00 

Canada and Foreign — $1 Additional per Year 


P'fifilETY Inc. 

154 West 46th Sfreet New York 36, N. Y. 


Col Backs Judy 
On Her ‘Stupidity’ 

Columbia prexy Harry Cohn and 
other company execs were report- 
ed this week in agreement with 
Judy Holliday’s self-analysis on 
her “stupidity” in supporting Com- 
munist-front organizations. Col is 
in support of the eomedy star to 
the extent that the employment 
deal with her will he kept in force. 

Miss Holliday characterized her- 
self as “stupid” in testimony be- 
fore the Senate Internal Security 
Sub-Committee, which was re- 
leased in Washington last week. 

Col is convinced that Miss Holli- 
day has no Communist sympathies, 
and consequently is continuing 
with plans to star her in future 
pix. She has a one-film-a-year 
deal with the studio. 

No immediate property is lined 
up for the comedienne because 
she won’t be available for some 
time. Miss Holliday is to become 
a mother in November. 


HMHIII III HM * > ♦ f - M » I » H I H M H ~H- 

This Week’s Football 

$ ■4 » 4 4 4 1 1 4 4 4 ♦ 3 HARRY WI SMER 4-44444- 444444-4^ 

College 
EAST 

GAMES * SELECTION 

Syracuse-Temple (Fri, nite) Temple 

Almost even-up. 

Rutgers-Princeton .Princeton , 

f Tigers still powerful. 

Columbia-Harvard Columbia . 

Little’s team shows promise. 

Dartmouth-Penn Fe<m 

Munger’s year. 

Navy-Come II Navy ..... 

Midshipmen off to good start. 

Fordham-Holy Cross . . . . . Holy Cross 

Anderson the difference 

Wm. & Mary-Penn State Penn State . . . .> 7 

State can come from behind. 

Brown-Yale Yale 3 

Neither team has much 

Clemson-Maryland Maryland , . e 

Md. over-rated. 

SOUTH 

Boston-College- Wake Forest Wake Forest 

(at Winston-Salem, nite) 

Deacons can score. 

Washington State-Bay lor Baylor ...... 

Texas teams can pass. 

Tennessee-Duke Tennessee . . , 

Neyland’s defense enough. 

North Carolina-Georgia Georgia ..... 

Bulldogs stay unbeaten. 

Aubum-Mississippi (at Memphis) Mississippi 

Old Miss by a shade. 

Louisiana State-Rice (nite) Rice 

Rice stronger. 

Georgia Tech-So. Methodist (niteT Georgia Tech 14 

Tech will wreck. 

Kentucky-Texas A & M (nite) Texas A & M 10 

Off year for Paul Bryant. ' 

Arkansas-TCU (nite) TCU 14 

Horned Frogs all the way. 

Notre Dame-Texas Texas 7 

Notre Dame lacks offense. 

Santa Clara-Tulanc Tulane 7 

New Orleans hospitality rough. 

Mississippi State-Arkansas State Miss. State 20 

Speed will tell. 

MIDWEST 

Boston U-Marquette (nite) Marquette 0 

Hilltoppers at home. 

Pitt-Oklahoma Oklahoma 7 

Okla in its new stadium. 

Purdue-Ohio State Ohio State 10 

Buckeyes rolling. 

Villanova-Detroit (nite) Villanova 3 

Filipski again. 

Iowa-Indiana Indiana 6 

Crimmins could do it. 

Missouri-Kansas State Missouri 7 

Old Missouri has lost two. 

Colorado-Kansas Kansas 7 

Gil Reich once more. 

California-Minnesota California 10 

Waldorf club ready. 

Vanderbilt-Northwestern Northwestern 6 

Two weak teams. 

Illinois-Wisconsin Wisconsin 7 

Could decide Big Ten. 

Iowa State-Nebraska .Nebraska 9 

Cornhuskers on offense. / 

FAR WEST 

Army-Southern California Southern California .... 7 

Trojans at home. 

Oregon-Idaho ‘....Oregon 6 

Tangled Webfeet — but victory. 

Michigan State-Oregon State (at Portland) Michigan -State # 

Spartans miss Dawson. 

Michigan-Stanford Michigan 6 

Wolverines in close call. 

UCLA-Washington UCLA 3 

A battle royal . 

Professional 

Lions-Rams (Fri. nite) Lions ID 

Rams in tailspin. 

Browns-Steelers (Sat. nite) Browns 20 

Browns after title. 

Giants-Eagles (Sat. nite) Giants 14 

Owen team has depth 

Bears-Cardinals Bears 0 

A real dopnybrook. 

’49-ers-Texans \ ’49-ers 21 

’49-ers have class. 

Redskins-Packcrs (at Milwaukee) Packers 7 

The two doormats. 

SEASON’S RECORD 
Won, 31; Lost, 6; Ties, 4; Pet., .838. 

(Ties Don’t Count.) 


♦Point margin represents selector’s choice. 


Gala for Fred Russell (90) 
Of Britain’s Water Rats 

London, Sept. 30. 

Fred Russell, O. B. E., preceptor 
of the Grand Order of Water Rats, 
a fraternal organization of British 
performers, will be feted Sunday 
(5) on his 90th birthday at the 
Park Lane Hotel here. Government 
reps, press, entertainment, indus- 
try and sports figures will attend 
the function. 

Wee Georgie Wood, yet perform- 
er, is in charge of • the event. 


Juve Hysteria for U. S. 
Stars Worries Glasgow 

Glasgow, Sept. 30. 

Moppet hysteria over U. S. stars 
arriving for dates here is engaging 
attention of police here. Crowds of 
screeching kids jam railway sta- 
tions, hoterdihtrances and airports 
when name singers or film stars 
arrive. 

Stars themselves take fright at 
the howling mobs and are smug- 
gled to their hotels to escape frenzy 
of these juvenile admirers. Danny 
Kaye, Dorothy Lamour, Larry 
Parks and Betty Garrett, Andrews 
Sisters, and Frankie Laine all have 
run the gauntlet. 

Curiously, these receptions are 
confined to U. S. stars, and not 
given British artistes. 


Hope-Crosby P.A.s Net 
* 211G for London Variety 

London, Sept. 23. 

In one day, the London tent of 
the Variety Club raised $21,500 for 
charity. This was last Sunday (21) 
when the tent organized an all-star 
golf tourney in the afternoon and 
a concert at night. The golf, match, 
in which Bob Hope and Birtg Cros- 
by played Donald Peers and Ted 
Ray, attracted over 7,000 and net- 
ted $6,500. At least half the game 
had to be abandoned because of 
crowds surging over the green. All 
the proceeds were devoted to the 
Duke of Edinburgh’s field fund. 

The concert, at which Bob Hope 
and Bing Crosby appeared, raised 
about $15,000 for the Clubland Set- 
. tlement and the Midwife Teachers 
I Training College. 




4 


PICTURES 


JVBzISTf 


‘Wednesday, OctoLer 1, 1952 


Record No. of Spectators See 

i n i n i w‘i 

Joe-Kocky on theatre Video 


Large-screen telecast of last f 
week’s Walcott-Marciano heavy- 
weight championship fight estab- 
lished an all-time record for the 
number of spectators who paid to 
witness a fight, resulting in a re- 
appraisal of the medium’s poten- 
tial by exhibs. With the actual 
bout in Philadelphia drawing about 
50,000 and the tele-equipped thea- 
tres accounting for 120,000, the 
bout outdrew the 120,000 who 
paid to see the second Dempsey- 
Tunney fight at Soldiers Field. Chi- 
cago, previous record-holder for a 
fight 

With 49 theatres in 31 cities 
carrying the Walcott-Marciano bat- 
tle, it’s estimated that the overall 
theatre gross (including taxes) ex- 
ceeded $400,000, Exact profit ac- 
cruing to the theatres has not been 
determined yet. With most of the 
theatres Signed for the* bout being 
large-seaters with over 2,000 ca- 
pacity, the cost per seat paid to 
Theatre Network Television, hold- 
ers of the large-screen rights to 
the bout, was $1.35. Admission 
prices varied in different sections 
-of -the country and for different 
theatres, with the average being 
about $3.25, In addition to the 
guarantee to TNT, theatres were 
faced with extra expenses, includ- 
ing $500 for line charges, extra 
advertising, and in some eases spe- 
cial police to handle the ■ large 
crowds. 

All theatres carrying the bout 
reported near or complete sellouts. 
Only mechanical breakdown was 
at the Skouras Academy of Music, 
N. T;, where the house was forced 
to give refunds, meaning a big 
loss lor the theatre since tickets 
sold at $4.80 and $3.60. v House was 
(Continued on page 23) 


New Fox Cos. on Xchange 

Stock shares of the two new 
20th-Fox companies to be formed 
upon 0 divorcement have been ad- ! 
mitted for dealings on the New i 
York Stock Exchange, both on a 
regular basis. 

National Theatres, Inc,, and 20 th- 
Fox Film Corp. both are listed at 
$1 par value. 


NEW PROPOSALS TO 
EXHIBS BY LOCAL 306 

Following a series of skirmishes, 
Local 306, Projectionists Union, 
International Alliance of Theatri- 
cal Stage Employees, presented 
last week to N.Y. metropolitan area 
• exhibs concrete proposals for a 
new pact to replace the one which 
expired Sept. 1. 

Union is asking for a 15% pack- 
age-deal hike, a 13% wage boost 
and 2% for the union’s welfare 
fund. Although the theatre ops, 
consisting of Loew’s, RKO and the' 
Broadway houses, have not made 
a formal reply to the union’s de- 
mands, there is some indication 
that the exhibs will attempt to re- 
sist any efforts resulting in an in- 
crease in ’ operational costs at this 
time. Union will counter this ar- 
gument with the fact that the 
boothmen' haven’t received a boost 
in four years although the cost-of- 
living index had increased. Exhibs, 
on the other hand, regard the 5% 
given the union’s welfare fund tWb 
years ago as tantamount to a hike 
since it raised the cost of operation. 

This year’s negotiations are ex- 
pected to follow the pattern of pre- 
vious talks between the two groups. 
In the past, they have been ex- 
ceedingly prolonged, often extend- 
ing from six months to a year fol- 
lowing the expiration of a pact. 
Deal set with Loew’s, RKO and the 
Broadway houses often serves as 
an example for the Skouras, Cen- 
tury, Randforce and other New 
York City -chains. Union holds sep- 
arate talks with the Independent 
Theatre Owners Assn. 


> 


Boucher’s Drive-In Also 
For Walk-In Film Fans 

Washington, Sept. 30. 

*The D. C. area is slated to get 
another big drive-in which will 
also provide accommodations for 
walk-in customers. Frank Boucher, 
veteran exhibitor, has just signed 
the lease for an 8Vfe acre tract on 
the northwest rim of nearby Alex- 
andria, Va., for a 600-car drive-in, 
plus playground, restaurant and 
250 seats for walk-in patrons. 

Boucher, who has. been 32 years 
in the picture biz, was formerly 
with* Warner Bros., and until his 
recent resignation was general 
manager of the Kogod-Burka chain 
in and around Washington. Asso- 
ciated with him in the drive-in 
project is Victor Orsinger, former 
general manager of the Lopert 
Theatres here. Boucher has also 
become v.p. of the Alvin Epstein 
ad agency in Washington. 


Ozoners Wary Of 
lea. TV Despite 
Joe-Rocky Click 

Despite the financial success of 
the Sr3 Drive-in, near Rutherford, 
N. J., with its large-screen televi- 
sion pickup of the Walcott-Marci- 
ano fight last week, other ozoner 
operators appear to be approaching 
possible use of the medium with 
caution. At least that’s the attitude 
of two major Jersey outdoor thea- 
tre circuits. 

James J. Thompson, head of the 
Eastern Drive-in Circuit, declared 
this week that his chain has no 
plans for theatre TV, while a 
spokesman for Walter Reade Thea- 
tres said no such step was under 
consideration for its ozoners at 
present. On the other hand, Phil 
Smith, whose Smith Management 
Co. operates the S-3, is highly en- 
thusiastic about theatre TV in light 
of last Tuesday’s (23) $14,000 gross. 

S-3's take was culled from more 
than 10,000 fight fans who swarmed 
into the 1,300-car capacity arena 
both on wheels and foot. Tariff was 
$8.33 plus tax for car and all oc- 
cupants. Some 7,200 folding chairs 
were also set up for “walk-ins.” 
A number of prospective patrons 
unable to gain admittance through 
legal channels climbed the fence, 
and others were observed catching 
the “blow-by-sblow” proceedings via 
binoculars at points of vantage up 
to two miles distant. 

RCA, which provided the instan- 
taneous theatre TV equipment for 
the fight pickup, claims that the 
event represented the first use of 
theatre TV in a drive' in. More- 
over, RCA points out that the TV 
pictures shown on the S-^’s 1 screen 
were the largest ever projected 
(2£4’x36’), and the projection throw 
of more than 125 feet was the long- 
est ever used in theatre TV. 


SHERMAN DEATH NIPS 
SEIDELMAN PROD. TIE 

Death of veteran producer Harry 
Sherman in Hollywood last week 
has collapsed Sam Seidelman’s 
deal with Harry Sherman Produc- 
tions, Inc. 

Seidelman, who was to have been 
executive v.p. of the outfit, *had 
been ready to ffy to the Coast last 
Sunday (28) to sign the. papers. Th£ 
partners had planned to make 12 
theatrical pix a year, with four in 
color. _ 

Inability to make tieup with 
another name producer has forced 
Seidelman to abandon the whole 
project. Sherman had planned to 
go into production in late Novem- 
ber or early December. 


Rocky-Joo 

Continued from page 1 


tele and radio bypassed. TNT had 
guaranteed the IBC $120,000 for 
the theatre coverage. 

Even if the big screen tele outfit 
tops the Pabst offer somewhat, it’s 
considered likely that the brewery 
firm will still get the nod for the 
return bout. Pabst has been spom 
soring the club’s Wednesday night 
cards for the past three years and 
reportedly has been promised 
“four or five” championship fights 
during the present indoor season. 

IBC has earmarked the Oct. 15 
lightweight go between Lauro Sal- 
os and Jimmy Carter for the Pabst 
CBS show. 


Youngstein Traveling 

Max Youngstein, United Artists 
v.p., returned to his New York of- 
fice yesterday (Tries.) after a swing 
of exchange cities in the north- 
west and^ott the Coast. He has 
been winging out of Gotham on a 
series of field trips for the past 
several months in connection with 
the Bill Heineman sales drive. 

Exec’s next trek will be to Lon- 
don shortly to look in on preem 
arrangements for Charles Chap- 
lin’s “Limelight” 

Peak Financial 
Status for COMPO 


As a result of its recent collec- 
tion drive, the Council of Motion 
Picture Organizations is in a 
stronger financial position than it 
has ever been. It’s figured that by 
the end of the year 10,000 theatres 
will be paying dues to the film in- 
dustry public relations outfit. 

The feeling among exhibs and 
others in the trade is that the or- 
ganization can now move ahead 
aggressively with its public rela- 
tions program. 

One of its prime projects will be 
a campaign for repeal of the 20% 
Federal admission tax. Setting up 
additional objectives and specific 
program plans will be announced, 
it has been indicated, following a 
meeting of the triumvirate now 
governing COMPO. Trio, consist- 
ing of A1 Lichtman, 20th-Fox dis- 
*rib chief; Sam Pinanski, Boston 
circuit op, and Trueman Rembush, 
Indiana chain owner, -are • set to 
meet shortly. 


SEEKS TO RECOVER 33G 
FROM CUSICK ON LOAN 

In an attempt to win priority 
over other creditors, Chesapeake 
Industries brought suit in N. Y. 
Federal Court Friday (26) against 
Cusick International Films. Action 
seeks to recover $32,820 from Cu- 
sick. This amount, according to 
the complaint, stems from a $32,000 
loan .which Eagle Lion Classics ad- 
vanced to Cusick in 1951 on a 
promissory note. 

Security for the loan, it’s assert- 
ed, were liens on two Cusick pic- 
tures, “The Long Dark Hall” and 
“Pardon My French.” As assignee 
of the defunct ELC, Chesapeake 
charges that subsequent to March, 
1951, Cusick granted certain rights 
in the two films to Chemical Bank 
& Trust Co., N. Y. t Sagitta Films, 
Neil F. Agnew and others. All 
have been named defendants - in the 
suit. 

After Cusick allegedly defaulted 
on the $32,820, Chesapeake noti- 
fied the indie producing firm to 
give it priority on its claim and 
shortly thereafter filed suit. Plain- 
tiff also asks that in event the two 
Cusick pictures are sold at a fore- 
closure sale, its coin should be de- 
ducted from the proceeds before 
other creditors get their cut. 

Both “Hall” and “French” were 
recently distributed in the U. S. 
through United Artists. Former 
was made in Britain by Cusick and 
Five Oceans Films, with Rex Har- 
rison and Lilli Palmer in top roles. 
“French” was Jensed in France by 
Cusick in association with Andre 
Sarrut (Sagitta Films). Stars of 
this venture were Paul Henreid and 
Merle Oberon... 


Helprin to London 
On Korda Pix-TY Deal 

Morris Helprin, London Film 
(America) prez and Sir Alexande 
Korda’s U. S. rep, left New York b 
plane Saturday (27) for London t 
wrap up a deal involving Britisl 
pix production aimed at both thea 
tres and TV. Eliot Hyman, activ 
in the films-for-TV field, has 
hand in the Korda venture. 

Hyman and lawyer David Still 
man left for London on the Queei 
Mary last week. Details of dea 
are being kept under wraps bu 
Helprin indicated it involves pre 
duction features and short! 
Groundwork for Korda plans 
which cue increasing British T 1 
film activity, was laid during Hel 
prin’s London visit last June. 

The Korda deal originally in 
eluded the National Broadcastin 
Co., but this tieup is now unlikel; 
with the network having made ai 
arrangement for TV film produc 
tion with Douglas Fairbanks, Jr 
in Britain. 


Italians Bid (or U3. Writers 
Of Comedy to Hypo Native Films 

r 


Delay Buchman Trial 

Washington, Sept. 30. 

Trial of writer-producer Sidney 
Buchman for contempt of Congress 
in the House Red probe has been 
postponed until Feb. 9. It had been 
scheduled to start Oct. 1. 

Delay is necessitated by the diffi- 
culty in getting certain witnesses 
at present. 

3 Writers Added 

To Red Pix List 

« 

At LA. Hearings 

Los Angeles, Sept. 30. 

Three new film names have been 
added to the House Un-American 
Activities Committee’s list of Com- 
munists as Red probers launched 
a new Hollywood session with a 
half-day’s testimony by screen^ 
writer Roy Huggins. 

On the stand for 75 minutes, 
Huggins described himself as a 
Marxist before he ever joined the 
party. He was a member briefly 
in 1939-40, while at UCLA. Re- 
joined in 1946 when he became a 
screenwriter, but again dropped 
out within a year. Hollywood Reds, 
he noted, “were interested only in 
Hollywood. . Never, so far as I 
know, did they have a discussion 
on world politics.” 

New names listed were Elliott 
Grenard, Leslie Edgley and Val 
Burton, all writers. 

Also listed were such familiar 
names as Albert Maltz, Harry Car- 
lisle, Robert Lees, Philip Steven- 
son, Janet Stevenson, Ben Barz- 
man, Norman Barzman, George 
Sklar, Guy Endore, Ann Morgan, 
Robert Richards, Wilma Shpre and 
Lillith James. Latter’s husband, 
Dan James, Huggins “knew only by 
hearsay.” Huggins, an articulate 
witness, was a political philosophy 
major at UCLA, and he gave the 
committee intricate details of 
“Marxism’s big flaw — the theory of 
the withering away of the state.” 
It was far over the heads of the 
75% capacity audience in the Fed- 
eral Building hearing room. Even 
some of the committee members 
squirmed as he spoke. 

Asked what should be done 
about the party, he warned the 
committee that “democracy has to 
fight for its life, but it would be 
a terrible thing to fight tyranny by 
becoming tyranny ourselves.” 


CUT ‘LADY OF FATIMA’ 
TO FIT MARQUEES 

Title of Warners’ “The Miracle of 
Our Lady of Fatima” has been 
shortened, with “Our Lady” being 
dropped. In all current engage- 
ments, film will keep its original 
title, but in subsequent bookings 
it’ll be known as “The Miracle of 
Fatima.” 

Change was attributed to diffi- 
culty in getting the full title on 
theatre marquees. As a result of 
the switch,. Warners had to prepare 
new posters and revise its press- 
book and advertising campaign. 

Meanwhile, “Fatima,” backed by 
solid Catholic church support, is 
clicking in all its first-run engage- 
ments. Based' on its experience in 
New York, where it is tested a 
continuous run and a reserved- 
seat policy, company is adhering to 
the former method. Outside of New 
York, 


N. Y. to Europe 

Sidney L. “Bernstein "" 
Mony Dalmes * 

Paul Gallico 
Dick Pack 
Benn Reyes 
J. Milton Salzburg 

N. Y. to L. A. 

Edward C. Grainger 
William W. Howard 
George Jessel 
Harry Mandel 
Joel Marston 
Milton Pickman 
Gil Ralston 
Hubbell Robinson, Jr. 


+ Italian bid for wider acceptance 
in the American film market mav 
result in a trek of U. S. comedy 
writers to Rome, Majority of suc- 
cessful Italo pix hitting these' 
shores have had sombre themes 
and few have succeeded in obtain- 
ing circuit releases. -Feeling of a 
group of Italo film-makers is that 
pix with comedy angles might be 
more appropriate for general dis- 
tribution. 

With a shortage of top comedy 
writers in Italy, Italian producers 
feel that American writers work- 
ing in conjunction with native 
. scripters could turn out the typo of 
films which could conceivably 
click in both markets. Pix, it’s 
felt, could be shot in both lan- 
guages or, because of the close 
liaison between the American and 
Italian writers, be dubbed more ex- 
pertly. 

Acceptance of a group of films 
imported by Lew Ciannelli, son of 
actor Eduardo Ciannelli, may de- 
termine if the idea has any merit. 
First of six pix, all comedies, 
brought over by Ciannelli is cur- 
rently being dubbed. Instead of 
hiring the usual Italian-to-English 
adapters, Ciannelli turned the job 
over to Hal Fimberg, film serip- 
ter and radio-TV comedy writer. 
Fimberg has completed the script- 
ing chore on “O. K. Nero,” pic fea- 
turing a pair of Italian Abbott & 
Costello-type characters, and it is 
now being dubbed on the Coast. 
According to Ciannelli, three filnv 
eries — Metro, RKO -and Republic- 
have shown interest in the film and 
talks are being held for a distrib 
deal. 

If the Ciannelli-dubbed pix 
prove successful at the b.o., it’s felt 
that many new jobs will be avail- 
able for memhers of the Screen 
Writers Guild, either by working 
in Italy or writing the dubbed ver- 
sions here. U. S., it’s estimated, 
would be able to absorb about 40 
or 50 of popular-type Italo pix. 


DISCUSS NEW DISNEY 
DISTRIB DEAL AT RKO 

Roy Disney, president of Walt 
Disney Productions, arrived in New 
York from the Coast yesterday 
(Tues.) to discuss a new distribu- 
tion deal with RKO. Disney organ- 
izations is anxious to continue its 
long association with the distrib 
unless the new controlling group 
headed by Ralph Stolkin decides 
on some unexpectedly radical 
changes in the operation. 

Disney product has been going 
through RKO the past 14 years. 
Last of a series of pacts expires 
with the handling of the new car- 
toon feature, “Peter Pan.” 


L. A. to N. Y. 

Greg Bautzer 
Edward Burk 
Florence Chadwick 
Sherrill Corwin 
Allen Davis 
John Deering 
Ned Depinet 
Yvette Dugay 
Mitchell Gertz 
Lee Green 

Oscar Hammerstein 2d 
Wanda Hendrix 
Sam Katzman 
A. L. Koolish 
Charles La Torre 
Robert Lee 
Warren Low 

William C. MacMillen, Jr. 
Ottp Preminger 
Janice Rule 
Ray Ryan 

Charles P. Skouras 
Ralph Stolkin 
Jane Wyatt 
Victor Young 

Europe to N. Y. 

Julian T. Abeles 
Fedoria Barbieri 
Arthur Blake 
Capella & Patricia 
Jose Ferrer 
Robert Flemyng 
Esmond Knight 
Arthur Lesser 
George London 
Silvano Mangano 
Ernest Martin 
Raymond Massey 
Robert C. Schnitzer 
Eleanor Steber 
Nora Swinburne 


Wednesday, October 1, 1952 



PSSziETY 


PICTURES 



ARBITRATION STYMIE? 


B.O. Acceptance, TV Prospects Seen 
Paying Off on Dubbed Lingo Films 


Favorable audience reaction iri- 
ihealres and prospects for heavy 
cash from television may solve!* the 
foreign film distributors’ dilemma, 
of whether to dub or not to dub 

Policy of adding English dialog 
to suitable imports has paid off 
handsomely in recent months an J 
has distribs wondering whether 
they haven’t hit on best solution 
yet ‘to help their production break 
out of the confining' art house 
strait jacket. 

With television as an added in- 
centive. dubbing costs are no longer 
considered a stumbling block, par- 
ticularly since successful dubbed 
versions have been cleaning up, 
doubling and even tripling the lip- 
sync outlay. Latest dubbed pic to 
get circuit booking is the French 
“Diable Au Corps” (pevil in the 
Flesh), which got off to a lively 
start last week in 11 Skouras and 
Brandt houses. 

“Diable” did good biz when it 
opened here in its original version 
' in 1949. Produced by Paul Graetz 
in conjunction with Universal Pie : 
turcs and starring Micheline Presle 
and Gerard Philipe, pic had long 
run at the Paris Theatre, N. Y., and 
subsequently was good for 300 
bookings across the country. 

The English version was dubbed 
in France by Claude Autant Lara, 
who directed the pic originally. 
Miss Presle dubbed in her own 
voice for the soundtftck retake and 
an American took Philipe’S part. 
The film ran into censorship trou- 
bles and still has not been shown in 
Pennsylvania or Ohio. 

Gractz’s latest, “Roma Ore II,” 
due for release here by A.F.E. 
Films before Christmas, also will 

(Continued on page 18) ‘ 

■ ■ ■ ■ 

A1 Dow Negotiating 
For Warner on B’way 
For Pop-Priced Opera 

Deal is about to be concluded 
for the lease of the Warner The- 
atre, WB’s Broadway showcase, to 
Albert K. Dow, booker and the- 
• atre operator. Dow would install 
popular-priced opera jn the 2,711- 
seat house which, except for a 
one-night opening' for the telecast 
of the Walcott-Marciano, fight, has 
been shuttered since early sum- 
mer. 

Dow, who operated pop-priced 
opera at the old Hippodrome, 
N.Y., 17 years ago, plans a 99c to 
$3 scale, with the opening skedded 
for Nov. 10. Although arrange- 
ments haven’t been definitely set, 
it appears that members of the 
Chicago Opera Co. will make up 
the resident outfit. 

Dow’s deal with ‘WB calls for a 
one-year lease plus a one-year re- 
newal option. Film outfit has been 
trying to unload the house, which 
it operates under a long-term 
lease, for some time. Many previ- 
ous talks for rental of the house 
to video nets and legit operators 
collapsed because of the high 
rental terms asked by Warners. 
Nature of the terms set with Dow 
}vere not disclosed, but there are 
indications that WB might have 
been forced to lower its asking 
price. It’s known that othd5r ten- 
ants of the building have been 
pressuring Warners to do some- 
thing to relight the house, since 
mz at the stores adjourning the 
theatre took a dive since the house 
shuttered. 

Theatre, originally called the 
‘ l rand, was built in 1914 and was 
the first of the plush Broadway 
nhn palaces. It operated continu- 
ously as a filmery and was the 
principal outlet for Warner prod- 
uct. At various times it shifted be- 
tween vaudfilm and straight films. 

>’ car * for the first time, it 
oi upped films completely for a 

il°Vv ( T, k on 8 a Sement of the Sad- 
\\ells Theatre Ballet. Name of 

1 theatre was changed to. the 
" ,l > nor m 1951. 

owns a drive-in the- 
!, al Daytona Beach, Fla., has 
grated theatres in New 

am/e’ Detroit, Boston 

aml Springfield, Mass. 


Renoir, Alliata to Seek 
U.S, Release of- ‘Coach’ 

Jean Renoir, who recently di- 
rected “Golden Coach” in Italy, 
and Francesco Alliata, head of a 
French and Italian group sponsor- 
ing the film, are due in New York 
in mid-November. 

They’ll investigate distribution 
arrangements for “Coach” while in 
the U. S. Film is unusual in that 
it originated abroad, foreign inter- 
ests provided the capital but is 
done entirely with English dialog. 
Harold Salemson is the N. Y. rep 
for the pic. 



Aimed at Exhibs 


London, Sept. 30. 

A retort drafted by the two pro- 
ducer organizations to an exhibitor 
pamphlet which was circulated in 
the House of Commons during the 
recent quota , debates and which 
particularly criticized the lack of 
suitable product to fill the second 
feature quota, will never see the 
light of day mainly, it is believed, 
because of the counsel of J. Arthur 
Rank. 

The reply had been prepared by 
Sir Henry L. French, director gen- 
eral of the British Film Producers 
Assn., on behalf of his own organ- 
ization and also for the Assn, of 
Specialized Film Producers. It was 
considered by the BFPA executive 
earlier this month when it was 
decided not to pursue the matter 
further. The overriding view, it is 
reported’, was that no useful pur- 
pose would be served and it might 
prove damaging to producer-ex- 
hibitor relations during the period 
of delicate negotiations on the con- 
tinuance of the Eady fund. 

The reply, which totaled nearly 
2,000 words, was a forthright at- 
tack on the exhibition industry and 
asserted that the Cinematograph 
Exhibitors'Assn. pamphlet had done 
(Continued on page 121) 

Siodmak May Embark On 
Austrian-Jugo Co. Prod.; 
U.S. Coin Aids Belgrade 

Rome, Sept. 23. 

Robert Siodmak, here from the 
Venice Film Festival, revealed that 
he has set up an Austrian-Jugoslav 
co-production which will be done 
entirely In Belgrade. Siodmak has 
gone to Belgrade to look over the 
studio facilities, and plans to have 
the pic ready for shooting next 
spring. Marshall Plan aid has 
helped the construction of tjie mod- 
ern film studios in the Jugoslav 
capital as a come-on for foreign 
film production work. 

Although the picture producers 
in the Siodmak deal are Austrian 
and Jugoslavian, the film will be 
done in English and German, with 
the American market definitely in 
mind for release. The untitled pic 
is supposed to relate events in 1914 
when Archduke Franz Ferdinamd 
was murdered by a Serbian patriot. 
Plot covers only one morning. 

• Siodmak claims to own the rights 
to “The Man Who Was Thursday,” 
a 1905 novel. He would use it as a 
pic to be done in Italy next year. 
Italian film writer Piero Tellini is 
preparing the screenplay. 


Up Pioneers’ Costs 

Motion Picture Pioneers has 
upped its membership initiation fee 
from $10 to $25 and the tariff for 
its Nov. 25 Jubilee Dinner at the 
Hotel Astor, N. Y., from $15 t6 $20. 

Overhead expense and rising 
costs of hotel charges necessitated 
the hikes, according to prexy Jack 
Cohn. Dinner will honor Nate J. 
Blumberg, Universal's board chair- 
man, as “Motion Picture Pioneer of 
1952.** 



JORS. EXHIBS 


D 



ILY 


McCarthy Names 3-Man Group 
To Probe Delays in Foreign Rentals 


Fear that the projected industry 
arbitration system could result in : 
further Government or court con- 
trol over exhib-distrib operations 
was revealed this week as one of 
the key factors delaying agreement 
on the overall arbitration plan. 

While arbitration must be en- 
dorsed by the Department of Jus- 
tice and the New York Federal 
Court which heard the industry 
antitrust suit, film company presi- 
dents and exhib leaders are anxious 
to avoid giving either the tribunal 
or the D. of J. any active role in 
arbiter activity. That such was a 
possibility was seen by the prexies 
in the arbitration plan drafted by 
a specially appointed exhib-distrib 
committee. For this reason' re- 
vision? in the program were voted 
by the chief execs. 

However, the amended plan, also 
incorporating changes relating to 
clearances and' damages which may 
be awarded to exhibs, were not 
accepted by some theatre * organi- 
zations. Consequently, film com- 
pany lawyers now are at work on 
further adjustments in phrase- 
ology. 

Arbitration Still Desired 

It’s stressed on all sides that ar- 
bitration still is desirable, but 
there's* disagreement on when' if 
actually will be accomplished. Al- 
fred Starr, new Theatre Owners of 
America president, told the outfit’s 
recent Washington convention that 
the setup is immediately in view. 
Each TOA field unit’s vote on the 
arbitration plan is now awaited, 

(Continued on page 18) 

ITALO ‘SALUTE’ 
GETS NIX ON 
U.S.T0UR 

Italian Films Export has ruled 
out a proposal to send the entire 
“Salute to Italian Films Week” 
show on tour following its seven- 
day New York run at the Little 
Carnegie, Oct. 6-12. 

Requests to have the festival go 
the key-city circuit have been 
reaching the IFE office from many 
parts of the country, particularly 
Chicago and Los Angeles. While 
they were nixed by IFE for this 
year, repeat performance may be 
sent on the road in 1953. Plans 
are now ripening to let the Italian 
stars and several members of the 
large delegation slated to attend 
the New York affair visit key cen- 
ters during October. They will go 
sans pix, however. 

Meanwhile, IFE has run into a 
storm trying to pick the final seven 
“Salute” selections. Total of 10 
productions will be available for 
showing, and IFE officials are. cur- 
rently mulling the problem of 
choosing the seven without offend-, 
ing producers who find themselves 
left out in the cold. Current plans 
are to arrange special screenings 
at the Little Carnegie for the three 
left overs. 

The large. Rome delegation 
which is beginning to arrive ,in- 
cludes not only the glamor con- 
tingent but also many of the guid- 
ing lights of the Italian industry at 
(Continued on page 13) 


1 — ♦ Motion Picture Export Assn. v.p. 

j. nn -n/r i tt • John G. McCarthy* has appointed 

Uct. 30 Mpls. Hearing a three-man cpmmittec to look into 

On T.phpdftflF FVp the question or long-delayed ex- 
y 11 Lluuuu ; hibitor rental coin in foreign coun- 

Minneapolis, Sept. 30. j tries. Group will make a territory- 


Federal Judge G. H. Nordbye 
has -set Oct. 30 for hearing on the 
findings drawn up by plaintiff at- 
torney Lee Loevenger and a mo- 
tion by him for the amount of 
counsel fees in the antitrust clear- 
ance conspiracy suit of local neigh- 
borhood exhibitors S. G. and Mar- 
tin Lebedoff, latter were awarded 
$125,077.53 damages agaiqst six 
major distributors arfd the United 
Paramount Theatres circuit here. 

In his findings Loevenger calls 
for an increase in damages from 
$41,692.51. to $52,000 in triplicate, 
or a total of $156,000, instead of 
$125,077.53. The attorney goes 
along with the judge’s method ol 
computing the damage, but be- 
lieves an error has been made in 
calculations. Loevenger asks for 
$29,305 attorney fees. Whatever 
amount that the court fixes must 
be paid by the defendants, in ad- 
dition to the judgment. 


TOA’s Starr Urges 



Alfred Stanr, newly-elected proxy 
of Theatre Owners of America, 
declared yesterday (Tues.) in N. Y. 
that he would like to see all exhibs 
combined in one organization. If 
this is not feasible, he said at his 
first press confab, he hoped that it 
would be possible for all theatre- 


by-territory study of the situation, 
which is latest of the distributor 
headaches. 

Trio set to give the problem the 
once-over includes Bernard Zee- 
man, treasurer of Columbia Inter- 
national; William Piper (Par) and 
Felix Summer (U). They’re ex- 
pected to come up with a scries 
of recommendations. 

Touchy problem was discussed 
by foreign managers at a meeting 
in New Yofk last week on the basis 
of a memorandum from Columbia, 
which pointed up over-extension of 
exhibitor credits as a “serious prob- 
lem confronting our industry to- 
day.” Memo, signed by Zeeman, 
called for “careful study and action 
in order to set up measures to pro- 
tect our business.” 

Probldin of outstanding rentals 
abroad has always been acute and 
has been subject of MPEA atten- 
tion from time to time, but not re- 
cently. Company execs agree the 
job of getting exhibitors to pay up 
promptly is a vexing one, but 
MPEA meeting produced no uni- 
fied reaction of sympathy with the 
Columbia plight, with Metro in 
particular declaring it’s a company 
matter. 

Crux of the matter is the com- 
panies’ eagerness, and this holds 
true particularly for the smaller 
outfits, to get cash in a hurry, par- 
ticularly from regions where earn- 
ings are convertible into dollars. 
One official 'explained that larger 
firms accrue large amounts which 
they are eager to remit to forestall 


men to get together at a single ! possible sudden devaluation moves. 


forum where they could swap in- 
formation and ideas. 

TOA topper also asserted that he 
was confident that arbitration 
would become a reality and that 
he did not think that some of the 
suggestions presented by distribs 
and exhibs at the recent TOA 
convention would serve as a “road- 
block” to the plan. He termed them 
“inconsequential.” 


Columbia memo mentioned 
France, Italy and Germany as par- 
ticularly touchy areas where com- 
pany has found exibs tending to 
stretch credit period beyond delay 
set down by good business practice. 
At the same time, foreign depart- 
ment execs say the situation differs 
from country to country, with sev- 
eral naming Brazil as a particularly 
flagrant offender. 

Col’s Complaint 

Columbia complaint is directed 
against chains and individual ex- 
hibitors who won’t pay up for 90 
and 120 days or more. Company 
considers this unreasonable, and 
in some instances unethical, but 
emphatically is not asking for con- 
Allied States Assn, is out for new ! c ei ted action on the part of all 
members and seeking to lure them j American distributors abroad, 
via regional meetings in non-key ^ p ven though the 

city spots. Strategy is that exhibs I ^stribs could get together under 


Non-Key City Meetings 
Of Allied Seen Strategy 
In Luring New Members 


! the protective MPEA umbrella. 
(Continued on page 23) 


Calls Friedlob Slugger, 
Asks $175,000 Damages 

Los Angeles, Sept. 30. 

Bert Friedlob, film producer, 
was sued for $175,000 in Superior 
Court by Howard S. Lichtenstein, 
a process server, who charges he 
was beaten and seriodsly injured 
while attempting to serve papers 
on the defendant at Motion Pic- 
ture Centre. 

Plaintiff asks general damages 
of $75,000 and punitive damages 
of $100,000. 


in the more-or-less remote towns 
would be more inclined to look in 
on Allied activities if the outfit’s 
field conclaves are conducted 
nearby. 

That was the idea behind the 
Iocationing of West Virginia Al- 
lied’s session recently in Clarks- 
burgh. If the session had been 
slated for Wheeling, the Allied unit 
figured, only the old membership 
would show up with little prospect 
of “new business” being brought 
in. Next year's convention will be 
held in Bluefield, W. Va. ! 

Group last week elected Max.l complaints, gathered mainly after 
Matz to the presidency, succeeding j trips to L.A. to confer with spokes- 
Fred Helwig. Latter was named. nlen f or the Southern California 
board chairman Other officers Thoatre Owners Assn., arc these: 
voted in included Don Shultz 1st , j. The smaU lndi „ s can . t gct t hc 

v.p.; H. A, Gilbert, 2d v.p.; Wood- ; same availabilities as larger tlica- 
row Thomas, secretary-treasurer, ^ res 

and Rube Shor, director on thc . 2. Independents are being com- 

National Allied board. C. D. Craw- polled to book product in blocks 
ford and Joseph Raad were added again. 

to the W. Va. unit’s board. i 3. In some areas, branch man- 

agers of the distributors have in- 
terests in theatres which they 
favor in product playing time. 

4. Distributors are compelling 
exhibitors to bid compcti- 


Senate Investigators 
List 4 Major Gripes 
Of Indie Exhibitors 

Washington, Sept. 30. 

The Senate Small Business Com- 
mittee has been told by its staff 
investigators that indie exhibitors 
have four major complaints about 
the way films are sold to them. The 


Arnall Re-elected 


Hollywood, Sept. 30. 

Society of Independent Motion 1 indie 
Picture Producers re-elected Ellis | tively against each other, which 
Arnall president and tossed a din- ! results in higher prices for the 
ner to celebrate his return from a ! distributors. 

leave-of-absence during which hei William D, Amis, of thc commit- 
served the Government as Price : tee staff, does not plan to return 


Stabilizer in Washington. 

All other officers were re-elected, 
including Marvin Faris as execu- 
tive secretary, George 
treasurer, and ■ Gunther 
chairman of the board. 


to L.A. for another month or so. 
Gillis Long, another staff investi- 
gator, has just returned from two 
Bagnall, j weeks on the Coast in which he 
Lessing, checked into the motion picture sit- 
I uation. 


6 


FILM REVIEWS 


“Wednesday, October 1, 1952 


The lusty Me* 

Good outdoor action drama 
built irowttd rodeo life, with 
star names. 


Hollywood, Sept. 26. 

RKO release of Wald-Krasna presenta- 
tion, produced by Jerry Wald. Stars Su- 
san Hayward, Robert Mltchum, Arthur 
Kennedy, Arthur Hunnicutt; features 
Frank Faylen, Walter Coy, Carol Nu- 
gent, Maria Hart, Lorna Thayer., Burt 
Muslin, Karen King, Jimmy Dodd, Elean- 
or Todd. Directed by Nicholas Ray. 
Screerfplay, Horace McCoy, David Dor- 
tort; suggested by story by Claude 
Stanush; camera, Lee Garmcs; editor, 
Ralph Dawson; music, Roy Webb. Pre- 
viewed Sept. 19, ’52. Running time, 112 

MINS. . I, * 

Louise Susan Hayward 

Jeff Robert Mitchum 

Wes Arthur Kennedy 

Booker Davis Arthur Hunnicutt 

A1 Dawson Frank Faylen 

Buster Burgess ;... Walter Coy 

Rusty Carol Nueent 

Rosemary Maddox ........ Maria llai't 

Grace Burgess .....Lorna Thayer 

Jeremiah - Burt Mustin 

Ginny Logan Karen Kin" 

Red Logan Jimmy Dodd 

Babs 1 Eleanor Todd 


Profitable returns shape up fer 
•‘The Lusty Men,’' a good outdoor 
action drama that makes valid use 
of a rodeo background to spin a 
story of loYe and glory among the 
bucking broncs. Exploitation ad- 
vantages accrue from the story, 
and the title and star napies sup- 
ply marquee strength, all of which 
indicates excellent playd^tes. 

The excellent Jerry ' Wald pro- 
duction is more drama . than 
straight actioner, but none of the 
latter values is neglected in get- 
ting the rousing tale on film. A 
lot -of actual rodeo footage is used 
to backstop the story of romance 
and competitive drama that goes 
on behind, the scenes^, along the 
bigtime rodeo circuit. * A some- 
what slow starter, as writers Hor- 
ace McCOy and David Dortort es- 
tablish plot and. characters, on^e 
underway it is .kept- playing with 
growing interest under Nicholas 
Ray’s firm direction. Scrinting 
displiays-^-siffe' hand for building^ 
the dramatics and provides top- 
notch dialog 

•Robert Mitphum gives what 
many will term his best perform- 
ance yet .as a faded rodeo cham- 
pion who has fallen on bad dnvs 
after an accident. Returning brohe 
to the tumbledown ranch where he 
spent ' his boyhood, he finds the 
property desired by Arthur Ken- 
nedy, roor cowpoke, and his wife. 
Susan Hayward. TalPs of Mitch”m’s 
past glory light a fire under Ken- 
nedy, who sees a- chance at uuick 
realization of his ranch-owning 
yen via rodeoing prizes. He talks 
Mitchum into being his coach and 
manager, and they take of* to 
cover the circuit, with Miss Hey- 
ward a reluctant member of the 
trio. . • 

As the days pass, Kennedy wins 
money and develops a taste for the 
glory that goes with success. 
Mitchum has a growing interest in 
Miss Hayward and, when Kennedy 
begins to go off the deep end, 
makes a pitch for her. She { s in- 
terested but faithful, and their re- 
nunciation scene is misinterpreted. 
Kennedy accuses Mitchum of cow- 
ardice and to meet this challenge 
and prove he’s still a man. the for- 
mer chamn tries again. He proves 
his old ability hasn’t left him, 'mt 
is fatally injured doing it. The 
death awakens Kennedy to the pit- 
falls of the rodeo glory road and 
he decides ranching is the better 
way of life. Miss- Hayward does a 
fine job, as does Kennedy; and the 
writing and direction use a credi- 
ble adult approach to the triangle. 

Arthur Hunnicutt adds a lighter 
flavor to the film as a broken- 
down performer given to telling 
tall tales of his past prowess. 
Frank Faylen. Walter Coy. Maria 
Hart. Lorna Thayer and Eleanor 
Todd are arnbn^ others helping the 
film’s realistic flavor. 

The production has expert tech- 
nical assists, including Lee 
Games* camera work, the Roy 
Webb piusic score, directed by C. 
Bakaleinikoff, and the editing by 
Ralph Dawson. Brog. 


Rill Mauldin’s Willie and Job char- 
acters. The promise of acceptance 
in the general market is excellent, 
so Universal should have no trou- 
ble rating a profitable payoff with 
the sequel, **Rack At the Front/’ 

Tom Ewell repeats as Willie, 
while Harvey Lembeck has taken 
over the role of Joe. It is good 
teaming, and laughs result as the 
pair runs through the contrived 
involvements under George Sher- 
man’s broad direction. The slap- 
stick pace and treatment of the 
situations turn on enough laughs 
to carry it over the 87 minutes with 
only a few slow spots. 

This time, Willie and Joe are 
called back to active duty and, de- 
spite all manner of deception and 
gold-bricking, are sent to Japan. 
There, after playing guinea pigs 
for new equipment, they are re- 
warded with a leave in Tokyo and 
get involved with a smuggling 
gang sneaking weapons aqd ex- 
plosives to North Korea. ’• They 
survive this involvement to be 
hailed as heroes, but a wise com- 
manding officer arranges for their 
shipment back to the states so the 
Army can continue to maintain 
friendly relations with Japan. 

The. screenplay by Lou Breslow, 
Don McGuire and Oscar Brodney, 
from* 'a story by Breslow, is well- 
supplied with chuckle stuff. The 
amusing opening shows hoW the 
Mauldin characters, at the’ insist- 
ence of Joe, got out of the service 
in “Up Front” by signing up for 
inactive status/ Amusing sequences 
include the boys pretending as- 
sorted illnesses in abortive tries for 
discharge, their adventures in a 
Japanese bath, and on v the streets, 
of Tokyo being pursued by M.P/s/ 

Abetting the numerous chuckles 
are Mari Blanchard, a svelte, sexy 
femme spy; Russell Johnson, the 
suave smuggler; Vaughn Taylor, a 
perplexed military police officer; 
Barry Kelley, the general; Richard 
Long, Palmer Lee' and others. 

The ‘two principals,, director 
Sherman and camera crew treked 
to Japan for one-thp-spot locales, 
and this adds to the picture’s back- 
ground and other production 
touches furnished under Leonard 
Goldstein’s supervision. Clifford 
Stine’s lensing is good, as are the 
other technical functions. Brog. 

Springfield Rifle 

(COLOR) 


Gary Cooper in. good, actionful, 
early-west Union vs. Confeder- 
acy outdoor plot. 


Hollywood, Sept. 25. 

Warners release of Louis F. Edelrmn 
production. Stars Gary Cooper, Phyllis 
Thnxter, David Brian; features Paul 
Kelly, Lon Chaney, Philip Carey; James 
Millican. Guinn "Big Boy" Williams, Alan 
Hale, Jr., Martin Milner, Wilton Graff. 
Directed by Andre DeToth. Screenplay, 
Charles Marquis ■ Warren, Frank Davis; 
from story by Sloan Nlbley; camera 
(Warner Color), Edwin DuPar; editor, 
Robert L. SWanson; music. Max Steiner. 
Previewed Sept. 23, '82. Running time. 
22 MINS. 

Major "Lex” Kearny Gary Cooper 

Erin Kearny Phyllis Thaxtcr 

Austin "Mac” McCool.'. ..... .David Brian 

Lt. Col. Hudson Paul* Kelly 

Pete’ Elm Lon Chaney 

Capt. Ed. Tennlck Philip Carey 

Matthew Quint James Afllitcan 

Sgt. Snow .; G. "Big Boy” Williams 

Mizzell Alan Hale, Jr. 

Olle .....* Martin Milner 

Col. 'Sharpe Wilton Graff 

General Ualleck Richard Hale 

Pvt. Ferguson James Brown 

Cook Vince Barnett 

Cpl. Hamel... Poodles Hanneford 

Sims • Jack Woody 

Lt. Evans Jerry O'Sullivan 

Sgt. Poole ; . . . . Ned Young 

Cpl. Ramsey William Fawcett 




Savage Triangle 

‘Savage Triangle,” French 
Import which preemed at the 
Paris Theatre, N. Y., Mo nday 
(29), was reviewed by . Variety 
under its original title of “Le 
Garcon Sauvage” (The Savage 
Boy) at the 1951 Venice Film 
Festival. Writing in the issue 
of Sept. 19, 1951, Mosk felt 
that director Jean Delannoy 
guided the film with “slick 
ness and pace.” But neverthe- 
less the critic opined “this 
picture does not have enough 
depth and motivation to give 
it credibility.” 

“Story of a prostitute and 
her young son,” Mosk noted, 
“may have some exploitation 
values which may- make it a 
good bet for sureseaters ...” 
Reviewer added that Made- 
leine Robinson is “fine” as the 
good-natured prostitute, Pierre 
Beck is “sensitive” as the boy 
and Frank Villard “brings too 
many mannerisms” to the para- 
sitic lover. Joseph Bursty n is 
distributing the Joseph Berc- 
holz production in the U_. S. 

Pic originally was halted by 
U. S. censors, but one deletion 
allowed it to pass. 


little more scope as a loyal native. 
Two juve roles are well played by 
Jeremy Spenser and Peter Asher. 
Backgrounds, filmed mainly in. the. 
Far East, deserve full credit. 

Mi fro. 


tion gamut. DeToth handles the 
big, brawling sequences well. Be- 
fore the conclusion is reached, 
Paul Kelly, commander of the 
cavalry post, is revealed as the 
southern sympathizer. Finale finds 
Cooper reinstated with full hon- 
ors, both for breaking up the plot 
against. -the Union and affording 
the Army with an unorthodox test- 
ing of the Springfield rifle, which 
later is to become standard equip- 
ment. 

Cooper handles himself easily 
in the top role. Miss Thaxter is 
appealing in a brief part. Brian’s 
heavy- -character is excellently 
done. Kelly is strong as the south- 
ern sympathizer and other fea- 
tured and supporting parts expert- 
ly delivered include those by Lon 
Chaney, Philip Carey, James Milli- 
can, Guinn “Big Boy” Williams, 
Alan Hale, Jr., Martin Milner, 
Graff and others. 

The Louis F. Edelman produc- 
tion of the Uharles Marquis War- 
ren-Frank Davis script makes good 
use of outdoor scenic values, and 
Edwin’ DuPar’s lensing is top- 
notch. Editing, music score and 
other contributions are expert. 

Brog. 


The Planter’s Wife 

(BRITISH) 


Routine domestic drama with 
Malayan war background; 
Claudette Colbert name may 
help overcome script weakness. 


London, Sept. 16. 

GFD release of Pinnacle Production. 
Stars Claudette Colbert. Jack Hawkins 
and Anthony Steel; features Ram Gopal. 
Directed by Ken Annakln. Screenplay, 
Peter Proud and Guy Elmcs; camera, 
Geffrey Unsworth; .-editor, Alfred Rome; 
music, Allan Gray, At Odeon, Leicester 
Square, Sept. 16, '52. Running time, 21 
MINS. 

Liz Frazer Claudette Colbert 

Jim Frazer Jack Hawkins 

Inspector Hugh Dobson . . . Anthony Steel 

Nair Ram Gopal 

Mat .Jeremy Spenser 

Jack Bushell Tom Macaulcy 

Eleanor Bushell Helen Goss 

Ah Moy Sonja Hana 

Wan Li Andy Ho 

Mike Frazer Peter Asher 

P-tr;a - • • Sliaym Bahadur 

Capt. Dell Bryan Coleman 

Lieutenant Summers Don Sharp 

Arminah Marla Baillie 


Back at the Front 


The Springfield rifle and army 
counter-espionage are the bases 
for the plot of this Gary Cooper 
starrer. Premise serves as a good 
springboard for the 92 minutes of 
early-west localed dramatics and 
generates enough excitement to 
satisfy the action fan. The Cooper 
name for the marquees and the use 
of WamerColor tints for display- 
ing the outdoor scenery help make 
the business outlook good. 

There are realistic values in the 
production to set up a story of how 
a foresighted Union officer master- 
minds a scheme to use counter- 
espionage to uncover the reasons 
why a northern cavalry post is un- 
able to supply the mounts needed 
to keep the government’s army on 
the move in the southern states. 
Every time the cavalry outpost 
tries to move a string of horses, 
renegades are tipped to the plan, 
ambush the soldiers and sell the 
horses to the Confederacy. There 
are a few story deficiencies but not 
enough to bother the average out- 
door action fan nor to keep Andre 
DeToth’s direction from spinning 
a steady pace. 

Cooper, Union officer, is the key 
to the counter-espionage plot. He’s 
cashiered on charges bordering on 
cowardice in the scheme cooked 
up by Wilton Graff, Union colonel, 
and joins up with David Brian, 
leader of the herd raiders. Work- 
ing undercover, with the constant 
risk of exposure, plus the difficul- 
TT . . , , , that arise with his wife, 

Universal has a good followup Phyllis Thaxter, and son, who are 
to last year s amusing comedy ad- ! not tipped to the part he is play- 
venture dealing with the antics of i ing, Cooper is put through the ac- 


Bill Mauldin’s Willie and Joe 
characters in amusincr comedy 
adventures in Japan. Good gen- 
eral audience offering. 

Hollywood, Sept. 26. 

Universal release of Leonard Gold- 
stein production. Stars Tom Ewell, Har- 
vey Lembeck; features Marl Blanchard, 
Barry KeUey, Vaughn Taylor, Richard 
Long, Russell Johnson, Palmer Lee. Di- 
rected by George Sherman. Screenolav. 
Lou Breslow. Don McGuire, Oscar Brod- 
ney. from story by Breslow and char- 
acters created by Bill Mauldin; camera, 
Clifford Stine; editor, Paul Wcatherwax. 
Previewed' Sept. 23. '52. Running time, 
87 MINS* 

ythie Tom Ewell 

"S® Harvey Lembeck 

JJlda ■ . Mari Blanch -u-d 

General Dixon Barry Kelley 

Major Ormsby Vaurhn Taylor 

Sgt. Rose Richard Long 

&^Y,,?,! dondo Russell Johnson 

Capt. White Palmer Lee 


The first British pic to. have the 
Malayan war as its background, 
“The Planter’s Wife’* was made as 
a co-production with United Art- 
ists. The jungle campaign against 
local terrorists is depicted against 
a • commonplace domestic drama, 
Maflater action sequences compen- 
sate for the lame opening. Claud- 
ette Colbert’s, name. pp. the .mar- 
quee should - be~a selling angle in 
the U. S. for a film which needs 
plenty of exploitation to help it at 
the boxoffice. 

In its earlier stages, the yam 
just limps along, the director in- 
troducing contrived thrills to sus- 
tain the action. Oqe such incident 
depicting a tussle between a snake 
and a mongoose has absolutely no 
relation to the plot. Later se- 
quences, however, focus attention 
on the actual campaign, and here 
the story is tense and dramatic. 

The central characters in the 
yarn are Jim Frazer and his wife 
Liz, whose marriage shows signs 
of cracking. He wants her to re- 
turn to London with their son and 
she makes it clear that if she leaves 
the plantation she will never come 
back. It is against this backcloth 
that the plot unspools. After their 
final triumph against the terror- 
ists, the child is sent home while 
the wife remains. 

Weaknesses in the script are an 
obvious handicap to the stars both 
of whom are capable of something 
much better. Anthony Steel has only 
a trivial role as a British inspector 
while Ram Gopal, better kno vn for 
his Indian stage dancing, has a 


Xiglil Without Sleep 

(SONGS) 

Dull, wordy attempt at psy- 
chological drama; very doubt- 
ful prospects. 

Hollywood, Sept. 26. 

20th-Fox release of Robert Bassler 
production. Stars 'Linda Darnell, Gary 
Merrill, Hildegarde Neff; features Joyce 
MacKenzie, Jupe Vincent, Donald Ran- 
dolph, Hugh Beaumont. Diluted by Roy 
Baker. Screenplay, Frank* Partos, Ellck 
Moll; from story by Molls camern. Lu; 
cien Ballard; editor. Nick De Maggio. 
music, Cyril Mockvidge; songs, Alfred 
Newman,. Haven Gillespie. Ken Darby. 
Previewed, Sept. 24, '52. Running time, 

Julie Bannon XJnda Darnell 

Richard Morton ; ■ ? ary 

Lisa Muller Hildegarde Neff 

Laura Harkness Joyce Mackenzie 

Emily Morton - J une Vincent 

Dr Clarke Donald Randolph 

John Harkness Hugh Beaumont 

Mrs. Carter Louise L ® rim ®r 

Mr. Carter William Forrest 

Maltre D’ Steven Geray 

Singer Mauri Lynn 

Henry Bill Walker 

Maid . ‘ ,. (l ,.Mae Marsh 

Benny Ben Xarter 

.“Night Without Sleep” is a 
wordy, dull attempt at psychologi- 
cal drama that plays off over 77 
minutes at a slow flashback pace. 
Strictly for programmer bookings. 

Stodgy pacing, lack of dramatic 
punch and the florid, bountiful 
dialog are three strikes against 
“Night.” Y^rn deals with a com- 
poser (Gary Merrill) who has flood- 
ed his talent in alcohol during his 
six-year 'marriage to heiress June 
Vincent, comes to early one morn- 
ing on the sofa in his wife’s Long 
Island mansion with the Reeling he 
has committed murder sometime 
during the night. Footage takes 
off in a series of flashbacks to show 
him quarreling with €iis wife on 
the eve of her departure for. Bos- 
ton. Later, there’s another quar- 
rel with his mistress, Hildegarde 
Neff: then an idyllic evening with 
Linda Darnell, , a film star whom 
he. mpets at a friend’s homer. This 
quick, romantic affair also ends in 
a quarrel and then is followed by 
another late-hour clash with the 
mistress. 

Resolution of the complicated 
plotting finds Merrill telephoning 
Miss Neff, finding she’s still alive; 
He then calls Miss Darnell. She’s 
still around, so he goes upstairs, 
finds his wife’s body. Before call- 
ing the police, Merrill takes time 
to arrange for a single 'tearose to 
be delivered to Miss Darnell on 
the boat she is taking to England, 
and the fadeout comes on this last 
gesture to romance. 

There’s not much the principals 
can do with the characters, and 
Roy Baker’s direction fails to help 
them surmount the material. Brief, 
smaller parts fall to Steven Geray, 
Mauri Lynn, nitery singer, and 
Bill Walker, among others. “Too 
Late for Spring” and “Look at 
Me,” are the tunes used, the first 
by Alfred Newman and Haven 
Gillespie, and the latter by New- 
man and Ken Darby. 

Lucien Ballard gives the film 
good, low-key lensing. Brog. 

- The Hour of 13 


B.O.SOCK FOR REELS 

OF WALCOTT-MARCiAHO 

RKO should, reap plenty of coin 
on its reelage of last week’s Joe 
Walcott-Rocky' Marciano heavy- 
weight title fight, in which the lat 
ter lifted the crown via the kavo 
route in the 13th round at Phil a 
delphia. a ' 

Tightly edited to show the ex- 
citing aspects of each of the 13 
rounds, the clips had the benefit 
of a slugfest that in itself was ex- 
citing all the way, with audience 
always expectant of the one blow 
that could end it. And the right 
hand that ended the fight after less 
than a minute of the 13th was a 
fitting, explosive climax to a con- 
test that had Walcott unquestion- 
ably on his way to a successful de- 
fense of the title that he won more 
than a year ago in his kayo of 
Ezzard Charles. 

All highlights of the fight are 
captured by the camera, and 
Jimmy Powers supplies whatever 
fill-in commentary necessary. Side- 
light explanations aren’t vitally 
needed, however, since the Excel- 
lent camerawork caught every- 
thing, including the closeups of the 
devastating body attacks employed 
by the aged champion and his 
rock-ribbed challenger. 

The crushing right of Marciano 
that spelled finish to the battle is 
easily evident in the films, and if ’ 
there was any question of the 
blow, the’ slow-motion unspooling 
reveals the devastation of the belt 

Kalin. 


Charming; Raffles - type •Scot- 
land Yard yarn. 


Hollywood, Sept. 29. 

Metro release of Hayes Goetz produc- 
tion. Stars Peter Lawford; features Dawn 
Addams, Roland Culver, Derek Bond, 
Leslie Dwyer, Michael Hordern. Colin 
Gordon. Directed by Harold French. 
Screenplay, Leon Gordon. Howard Em- 
ojett based on novel by Philip 

MacDonald; camera. Guy Green; editors 
Robert Watts, Raymond Poulton; music, 
composed and conducted by John Addi- 
son, played by the Royal Philharmonic 
Orchestra. Previewed Sept. 24, '32, Run 
ning time, 72 MINS. 

jNJcholas__Revel .. Peter lawford 

Jane Frensham Dawr. Addams 

Connor Roland Culver 

Sir Christopher Lcnhurst . . . DrreK Bond 

e« rn *?r ^® r fc® r • • • • : Leslie Dwyer 

Sir Herbert Frensham . , Michael Hordern 

MacStreet Colin Gordon 

Mrs. Chumley Orr Heather Thatcher 

f. ord Jack McNaughton 

Mr. Chumley Orr Campbell Cotts 

Lady Elmbrldge / Fabla Drake 

Anderson Michael Goodllffe 

-Magistrate of Court Moultrie Kelsall 

Cummings .. Peter Copley 

The "Terror” Richard Shaw 


A slick jewel thief versus Scot- 
land Yard, with a skulking mur- 
derer who has it in for London 
bobbies as an extra melodramatic 
touch, are the motivating factors 
behind this tale of charming skull- 
duggery, lightly told under the 
title of 4 The Hour of 13.” It’s 
an okay companiqn feature entry 
offering. 

The Hayes Goetz production has 
been filmed against an authentic 
London background, lending a nice 
touch to the 1890 setting of the 
Philip MacDonald story, scripted 
by Leon Gordon and Howard Em- 
mett^ Rogers. Peter Lawford is the 
dashing jewel thief, pleasantly and 
likeably delivering the Rafflish 
character. He and his accomplices, 
Leslie Dwyer, a cabbie, and Colin 


Gordon, an insurance appraiser, 
have illegal designs on- a valuable 
emerald. They . manage to steal 
it at a swank party, but the rapier- 
wielding terror kills a bobbie who 
is ..guarding the affair, upsetting 
he plans for escape. 

From then on, Harold French’s 
direction makes it a. good chase 
film as Lawford comes under the 
suspicions of Scotland Yard super- 
intendent Roland Culver, both for 
the theft andLthe killings that have 
grown to an^alarming total. Law- 
ford’s wits manage fo keep him 
one jump ahead of Culver as he 
waits for the- killing hue and cry to 
die down so he can dispose of the 
jewel. While this is going on- he 
urns his attention to the pleasant 
chore of courting Daw Addams, 
daughter of a Scotland Yard com- 
missioner and betrothed of Derek 
Bond. When the chase gets too- 
close, Lawford comes up with a 
scheme to trap the police-killer, 
executes it neatly but fails to 
reckon with Culver’s unrelenting 
determination, so bids a farewell 
to Miss Addams and goes off to 
pay his debt to society. 

French’s direction, the scripting 
and the trouping of the cast keep 
the plot unfolding at an entertain- 
ing pace. Miss Addams is an at- 
tractive romantic foil, and Bond 
answers the stuffed-shirt demands 
of his role. Dwyer's cabbie is ex- 
cellent. Culver, Gordon, Michael 
Hordern, Jack McNaughton and 
other British players making up 
most of the cast all do their part 
to make this good, light entertain- 
ment. 

Guy Green's photography and 
special photographic effects, the 
editing, music score and 'Other be- 
hind-the-camera credits are wor- 
thy. Brog. 


The Blazing Forest 

(Color) 


Pine-Thomas outdoor ac- 
tioner. Good prospects in 
general situations. 

' Hollywood, Sept. 26. 

Paramount release of William H. Pin®- 
William C. Thomas production. Stars John 
Payne; feature*- William Demarest, Agnes 
Mooreh*ad. RIchard'Arlen, SusaiTMorroWk - 
Roscoe Ates, Lynne Roberts. Walter H«to» 
Ewing Mitchell. Directed by Edward Lud- 
wig. Screenplay, Lewis- R. Foster, Win- 
ston Miller; camera (Technicolor), Lionel 
Llndon; editor, Howard Smith; ^nuisjc, 
Lucien Cailllct. Previewed, Sept. 11, 
Running time, 20 MINS. . „ ... 

Kelly Hanson .John Payne 

Syd Jessup William Demarest 

Jessie Crain Agnes Moorehead 

Joe Morgan Richard Arlen 

Sharon Wilks.../. Susan Morrow 

Beans.. Roscoc Ates 

Grace Lynne Roberts 

Banger .Ewing Mitchell 

Max Walter Reed 

Lumberjacks Jim Davies, 

Joey Ray, Joe Garcia, Brett Houston, 
Max Wagner 

Pine-Thomas have another of 

their acceptable outdoor action 
features in “The Blazing Forest, 
a tail-timber yarn that shapes 
toward good prospects in the gen- 
eral market. As usual with P-T en- 
tries, the stress is pn rugged action, 
dressed in Technicolor, with good 
exploitation possibilities. . 

Location lensing sets up the put- 
ddors flavor for the screen i story 
by Lewis R. Foster and Winston 
Miller. Plot mixes in a 
angle, as well as a good and bacn 
brother twist, to balance off the 
action sequences involved with log* 

(Continued on page 22) 








’53 Cannes Fete to Open in March; 



F 




Paris, Sept. 23. 

With the Venice Film Festival 
still an echo here, the* Cannes Fete 
is already being discussed and 
nlanned for next year. This sec- 
ond big competitive festival will 
have new rules and will be staged 
parlv so as to leave a gap between 
ft and Venice fete. This would 
allow each to have a good choice 
of the worthy films. Another rea- 
son for the March 11-26 dates stems 
from the difficulties encountered 
last year with the Bureau of Tour- 
ism. The 1952 festival cut into the 
already going season, and it would 
prefer to have it held during the 
offseason so as to get special rates 
from hotels and help cure the dull 

The Cannes fete also will be Cut 
down in running time, according 
to Director Favre Le Bret. A se- 
lection committee will be formed 
to pick the films, and only 12 pix 
will be officially entered in the 
competish. Other films will be 
shown during the day. Prizes have 
not been set as yet, but there may 
be only one for the best film. 

In spite of the agreement of the 
International Producers’ Assn, to 
support only two competitive festi- 
vals annually, Venice and Cannes, 
there are still many fetes unspool- 
ing every year, with new ones 
mushrooming out in all parts oi 
the world. Though they .are con- 
sidered unofficial and no prizes 
are awarded in many cases. 

This year already has seer, fetes 
in Knokke-Le-Zoute, Belgium, Ber- 
lin. Vichy (a "public referendum 
festival). Madrs, India, Uruguay 
and Edinburgh. In the offing there 
are festivals planned for Rio de 
Janeiro (in 1954), Acapulco, Mexi- 
co, and one in Moscow, this year. 

20th-Fox, Artie House ' 

In Tussle Over Switch 
In Bookings of ’0; Henry’ 

Tussle is going on between 20th- 
Fox and the Fine Arts Theatre, 
New York art film showcase, ov?r 
distrib’s move in throwing booking 
of “0. Henry’s Full House” to 
Brandt’s Trans-Lux 52nd St. house 
after originally signing contract for 
pic with Richard Davis, Fine Arts 
operator. 

Davis is burning over 20th-Fox 
switch and currently discussing 
things with, his attorney, Louis 
Nizcr. Davis’ position is that while 
he has had his differences with 
20th over the film, he never re- 
leased the company from its con- 
tract. According to Davis, 20tli had 
made concessions and them tried to 
renege. 20th spokesman this week 
minimized whole issue as a normal 
difficulty between buyer and seller. 
He said that Davis, after ogling 
Chaplin’s “Limelight,” had asked 
to be released of his contract and 
that 20th had accepted, leaving the 
company free to do. as it pleased. 

Davis says he originally con- 
tracted with the understanding that 
20th- would- -eliminate the* “Ransom 
of Red Chief” sequence, starring 
Fred Allen and Oscar Levant. 
Darryl F. Zanuck, 20th production 
cluel. objected to this but later 
(Continued on page 18) 

Stanwyck in ‘Fire’ 

Hollywood, Sept. 30. 

blarney Kramer signed Barbara 
£ anwyck to star in “Circle of 
^ e replacing Mary Pickford, 
thJVi Uln i C< * d° wn the role because 
mittv! , la ?ed a Technicolor com- 
tft Scri Pt is being rewritten 

woman ke the Star a youn S er 

Filming win s t ar t i a t e in Novem- 

comninf pe u mit Miss Stanwyck to 
2oKv te her role in "Titanic” at 


?ox. 


^Oth’s 25c Divvy 

Per" o, U a arterly cash dividend of 25c 
comn . on outstanding 20th- Fox 

Payable rf i° C oi llas been declared 
er S' )cl ', 31 ; ^52, to stockhold- 
ers oi e S5? i% of busi ' 


Pic Teaches ABC’s Of 
Political Campaigning 

ABC’s of campaigning are being 
taught volunteer Republican work- 
ers in the current Presidential race 
by means of a 20-minute film titled 
Henry Lends a Hand.” 

Sponsored by the Committee for 
Political Education and Informa- 
tion, the film was made last sum- 
mer by Information Productions, 
Inc. It tells how a young Amer- 
ican couple became interested in 
pblitical work and examines their 
failures and successes in canvass- 
ing, publicity, speechmaking, etc. 

Cast as the couple are John Ward 
and Frances Helm. IPI owners 
Alfred Butterfield and Thomas H. 
Wolf produced from' their own 

script. Dwight Weist narrates. 

- 

Carriage Trade 
Lured to Russe 
Opera-Ballet Pic 

Apparently moved by the axiom, 
“art knows no harriers,” the car- 
riage trade is swarming to the 
Stanley Theatre, Y., where the 
Soviet-made “The Grand Concert” 
went into its . fifth week Satur- 
day .(27). The Russian opera and 
ballet picture, which features lead- 
ing Soviet artists, is rated by house 
operator David Fine as his best 
grosser there since “Ivan the’ Ter- 
rible” in 1945. 

Many of the Stanley’s new pa- 
trons, Fine observed this week, are 
those who attend the Metropolitan 
Opera. That institution, incidental- 
ly, is diagonally across the street 
from the Stanley. Newcomers head- 
ing for a “Concert” screening are 
frequently chauffeur-driven in 
limousines. 

Fine credits the capacity busi- 
ness to a number of favorable re- 
views, principally Howard Thomp- 
son's notice in the Times plus an 
editorial, and Bosley Crowther’s 
Sunday followup piece in the same 
(Continued on page 20) 

CARLTON’S $504,385 
LIABILITIES IN BKPTCY. 

Rex Carlton, who once headed 
the now defunct Laurel Films, 
filed a voluntary petition of bank- 
ruptcy in N. Y. Federal Court last 
week, listing liabilities of $504,385 
and $300 in assets. All his assets, 
the indie producer explained in 
the papers, had been taken over by 
two major creditors, the Chemical 
Bank & Trust Co. and the Motion 
Picture Releasing Corp. 

Chemical Bank originally lent 
Carlton $400,000. He repaid part 
oi- -this --amount -but-still -owes. . a 
balance of $155,800. His indebt- 
edness to MPRC results from a 
$55,800 judgment the firm won 
against him in N. Y. Supreme Court 
last year. Othejrlarge creditors in- 
clude Kenneth Meredith and J. 
Edward Fluss, $146,950; Reeves 
Sound Studio, $68,291, and De- 
luxe Laboratories, $29,000. 

Although listing $504,385 as his 
liabilities, Carlton claims that he’s 
not entirely liable for $455,708 of 
this amount since his former asso- 
ciates, Joseph Lerner and Edmund 
Dorfman, are also involved in run- 
ning up this tally. Among unse- 
cured creditors named in the peti- 
tion are Martin Stern, ‘$25,000; 
Gail Kubic, $10,000, and L. Lieb- 
son, $3,500, 

While heading Laurel, Carlton 
turned out such films as “Guilty 
Bystander,” a Zachary Scott-Faye 
Emerson starrer, and “Mr. Uni- 
verse,” which 1 had Jack Carson, 
Robert Alda and Janis Paige in top 
roles. More recently he reportedly 
was associated with producing an 
indie venture called “The Miami 
Story.” 



An important but overlooked ad- 
junct of the industry’s censorship 
fight, according to many pixites, is 
that it did more to bring about a 
friendly press than all previous 
direct overtures. 

Film execs frankly state that the 
pro-industry comments stemmed 
from the time of the U. S. Su- 
preme Court’s decisions on the 
“Miracle” and “Pinky” cases. When 
the rulings were handed down, 
the nation’s newspapers were al- 
most unanimous in hailing the pic 
industry’s attainment of a status 
similar to a free press. 

Pro-industry, support continued 
as local newspapers offered edi- 
torial aid in the effort to strike 
down local and state censors. The 
trend continued with solid press 
support against the Dept, of Jus- 
tice’s antitrust action in aiming to- 
force pic firms to sell their 16m 
films to television. Speed and tone 
of the editorials condemning the 
Government’s action, with impor- 
tant and influential newspapers 
aligning themselves .with the indus- 
try, surprised veteran filmites who 
for years had been accustomed to a 
lukewarm if not hostile press'. 

It’s pointed out that less than 
five years ago serious attempts 
were made to elicit press support 
for the censorship battle, but to 
no avail. Overtures to Individual 
newspapers and - publisher associa- 
tions resulted in a cold shoulder. 
At that time, films and the radio- 
TV industry failed to get the press 
to join them in presenting a solid 
front against (government regula- 
tions considered of a censorship 
nature. The general stand-offish 
press attitude continued until only 
recently. Industryites attribute the 
change to the press’ realization 
that it was a common fight and that 
when one medium of communica- 
tion is threatened, all are. 

Press’ friendliness to films has 
been reflected in other ways in 

(Continued on page 16) 

Theatre Execs Become 
’Students’ of Ballyhoo 
Course Set by AMPA 

Pointing up the importance be- 
ing placed by exhibs in more ag- 
gressive exploitation is the interest 
displayed by higher-echelon execs 
in the pub-ad courses instituted by 
the Associated Motion Picture Ad- 
vertisers, New York. Weekly ses- 
sion, which got underway last 
Thursday (25 were originally con- 
ceived to instruct young industry- 
ites in the elements of film show- 
manship and ballyhoo. To the sur- 
prise of AMPA, however, many 
experienced and vet filmites signed 
up for the 12-session course. 

Classes are being held in various 
N. Y. screening rooms. Theatremen 
returning to “school” include Bob 
Shapiro, managing director of the 
N. Y. Paramount; Gene Pleschette, 
manager of the Brooklyn Para- 
mount; Nick Schermer horn, Wa lter 
Reade circuit general mahager," and 
Paul Peterson, drive-in supervisor 
for the Reade organization. In addi- 
tion, the “students” include top 
city managers and theatre man- 
agers from the Reade circuit. Tui- 
tion for the Reade personnel, $15 
per person, is being paid by the 
Reade' company. Latter arrange- 
ment is also being contemplated'* 
by RKO Theatres, which is current- 
ly polling its managers to line up 
volunteers. 

Because of interest being shown 
in the showmanship courses ouU 
side the N. Y. metropolitan area, 
AMPA plans to publish the text of 
the initial series. Sessions will be 
tape-recorded. 

Par’s Italo Distrib 

“Sensualita,” POnti-De Laurentiis 
Italiah production, has been ac- 
quired for release outside the 
American market by Paramount, 
which participated in financing the 
film. 

Pic will be distributed in the 
U. S. and Canada by Lopert Films. 


RKO’s New Mgt. Seeking to Stretch 
Product Until Assured of New Pix 


Argentine Pic Nixed 

By N.Y. Regents Bd. 

Albany, Sept. 30. 

“Slaves of the Underworld,” 
Spanish-language picture produced 
in Argentina, cannot be publicly 
shown in New York State because 
it would “tend to corrupt morals 
and incite to crime,” the Board of 
Regents decided Friday (25). 

The Regents upheld Hugh M. 
Flick, director of its division, who 
refused a state license to the film, 
which tclis the efforts of a doctor 
to track down the killer of his wife, 
slain under circumstances indicat- 
ing she had been a marijuana ad- 
dict and had connections with un- 
derworld characters. The physician 
exposes himself to the drug and 
becomes an addict, but finally is 
cured and the drug ring smashed. 

The appellant, A. J. 'Film Distri- 
bution Co. of New York City, 
through attorney Arnold Jacobs, 
argued that the film would help 
check drug addiction. 

Would Overhaul 
RKO Theatres Bd. 
In Pix Co. s Sale 

Overhauling of the RKO Thea- 
tres board of directors is due short- 
ly in the wake of sale by Howard 
Hughes of his controlling stock in 
RKO Pictures. 

Having dropped the film shares, 
Hughes expectedly will get the le- 
galities moving to take over the 
active ownership, which includes 
direct voting rights, of the 929,000 
shares of the theatre outfit’s stock 
trusteed with the Irving Trust Co. 
Trust arrangement was part of the 
RKO antitrust consent decree and 
was to last as long as Hughes held 
the pic company stock. 

‘Board now comprises prexy Sol 
A. Schwartz and Edward C. Raft- 
ery, representing management; 
William J. Wardall and Ben-Flem- 
ing Sessel, for Irving Trust, and 
David J. Greene and A. Louis Ores- 
man. Greene led the proxy battle 
against the management last year, 
the result of which was his and 
Oresman’s election to the board. 

Extent of the reshuffling due is 
not clear at this time but it’s re- 
garded as a certainty that Greene 
and Oresman will stay on. They 
own 107,950 shares of the chain’s 
stock and had numerous other mi- 
nority stockholders on their side 
in the proxy row. The two, inci- 
dentally, have been steadily in- 
creasing their holdings. 

Observers believe that the likely 
source for Hughes would be for 
him to remove the two Irving Trust 
reps. 



READY 2 MORE FILMS 

Sidney L. Bernstein, who’s part- 
nered with Alfred Hitchcock in 
Transatlantic Pictures, planed to 
London, Friday (26), after a nine- 
month stay in the U. S. and Can- 
ada to supervise production of TP’s 
Montgomery Clift starrer, ,4, I Con- 
fess.” Directed by Hitchcock, the 
venture has been locationing in 
Quebec for the past efw weeks. 

Prior to his departure from New 
York Bernstein disclosed that 
Transatlantic is readying two more 
projects. First on the indie com- 
pany’s agenda is “Dark Duty” while 
“To Catch a Thief will roll in Eng- 
land next year, with Cary Grant as 
the male lead. 

Although “Confess” will be re- 
leased through Warners, Bernstein 
declared that no distribution agree- 
ments as yet have been made for 
either “Duty” or “Thief.” The 
producer, who’s also a top exec of 
Granada Theatres in England, ex- 
pects to return from London soon. 


With production at the studio 
shut down while the new, manage- 
ment group, headed ‘ by Ralph 
Stolkin, is in the process of taking 
over the operation from Howard 
Hughes, RKO’s distribution force 
is aiming to stretch the available 
product until it is assured of a 
steady flow from its own factory. 

Currently there are 13 pix set or 
nearly ready for release, with only 
five completely bearing the RKO 
stamp. Although the 13 pix are 
more or less ready to move through 
the distrib channels, various fac- 
tors exist that could conceivably 
delay several. 

Among the five exclusively-made 
RKO films are three starring Jean 
Simmons, all . made during the 
period Miss Simmons was having 
a court squabble with Hughes. 
In addition, Miss Simmons has a 
leading r tie in Gabriel Pascal’s 
production of G. B. Shaw’s “An- 
drocles and the Lion,” made on the 
RKO lot. Her other pix include 
“The Murder,” “Beautiful, But 
Dangerous” and “Breakup.” Al- 
though “Androcles” and the other 
pix are set to go, RKO’s sales force 
does not think it wise to give ex- 
hibs 'and the public too much of 
Miss Simmons at one time. As a 
result, pix will be held and re- 
leased on a staggered basis. 

Another pic, although completed, 
is still in the problem category. 
“Jet Pilot” has been in and out of 
the editing mill several times and 
still hadn’t been processed to the 
satisfaction of studio officials up 
(Continued on page 20) 

RKO to Release Atom 
Bomb Maneuvers Next 
Montb in Govt Deal 

RKO-Pathe expects to have the 
color footage of the Yucca Flat, 
Nevada, atomic warfare maneuvers 
of the Marine Corps ready for re- 
lease some time next month. Outfit 
is currently editing the 29,000 feet 
of footage, which contains for the 
first time tinted shots of an A-bomb 
blast. Film, shot by 15 Marin* 
Corps cameramen, will be cut to 
1,530 feet for a 17-minute two- 
reeler and will be released by RKO 
under the title of “Operation 
A-Bomb.” 

RKO snared the footage after 
the Defense Dept., via the Motion 
Picture Assn, of America, asked 
the major filmeries to have a gan- 
der at the footage and to suggest 
what could be done in the matter 
of editing and distribution. RKO 
apparently offered the Defense 
Dept, the best deal. No coin wfis 
involved, of course, the Defense 
Dept, being interested in the as- 
sembling and distribution of the 
footage as a public relations effort. 
Only stipulation was that RKO 
turn over to the armed forces 16 
prints of the film for instructional 
use. Coin received from regular 
theatrical rentals goes direct to 
RKO with no strings attached. 

Jay Bonafield, RKO Pathe’s exec 
v.p.; ' serves”SS prodtiCiEir,'' and Bur- 
ton Benjamin is writing the narra- 
tion and supervising the assem- 
bling. Hearst newsman Bob Consi- 
dine is doing the narration. 


Suspends Farley Granger 

Hollywood, Sept. 30. 

Farley Granger was suspended 
by Samuel Goldwyn Productions 
oyer the weekend as the result of 
his refusal to participate in pro- 
motional activities for “Hans Chris- 
tian Andersen.” Granger is not in 
the film, which stars Danny Kaye. 

Star was asked to travel to New 
York to make the publicity rounds 
and refused. 


Techni’s 50c Divvy 

Following a board meeting in 
New York last week, Technicolor 
declared a dividend of 50c pef 
share payable Oct. 20 to stock- 
holders of record on Oct. 6. 

Melon marks the third 50c divvy 
per share paid by Technicolor dur- 
ing 1952. 


s 


PICTURE CROSSES 


PfifOETT 


Wednesday* October 1, 1952 


■ T 



LA. Lagging; ‘Pirate’ Brisk $31, 
Devil- My Man’ Okay $27,000, ‘Paris’ 
Lightl8G, Hawk’ 19G; House’ 8G, 2d 


Los Angeles, Sept. <30. 

First-run biz continues to slip in 
current frame despite five new 
entries. Best newcomer is “Crim- 
son Pirate” with good $31,000 in 
three theatres. Combo of “Devil 
Makes Three” and "My Man and 
I” shapes fairly nice $27,000 in 9- 
day week for two houses. 

Light $18,000 is seen for "Assign- 
ment Paris” playing in two spots 
while "Woman of North Country” 
looks small $6,000 in four locations. 
"Golden Hawk,” playing in two 
sites, shapes mild $19,000, with 
fight pix helping. 

"Full House” still is smart at 
$8,000 in second session at the 
Canon. “Just For You” is way 
down to $13,500 in second round 
in two houses. 

Estimates for This Week 

Los Angeles, Chinese (FWC) 
(2,097; 2,048; 70-$1.10)— "Just For 
You” (Par) and "Tropical Heat- 
wave” (Rep) (2d wk). Way off to 
$13,500. Last week, $20,300. 

Hollywood, Wlltern, Orpheum 
(WB-Metropolitan) <2,756; 2,344; 

2,213; 70-$1.10)— “Crimson Pirate” 
<WB) and “Midnight Melody” (Rep) 
(reissue) (Orpheum only). Good 
$31,000. Last week, Hollywood, 
Wiltem, “Yankee Buccaneer” (U) 
(10 days), $13,000. Orpheum Fox 
Beverly, “Big Sky*’ (RKO) and 
"Jungle Chang” (RKO) (Orpheum 
only) (5th wk), $8,200. 

Loew*s State, Egyptian (UATC) 
(2,404; 1,538; 70-$1.10) — “Devil 
Makes Three” (M-G> and “My Man 
and I” (M-G). Fairly nice $27,000 
in 9 days. Last week, "Fearless 
Fagan” (M-G) and "You For Me” 
(M-G) (2d wk-5 days), $8,500. 

Hillstreet, Pan tapes (RKO) (2,752; 
2,812; 70-$1.10) — "Golden Hawk” 
(Col) and “Voodoo Tiger” (Col). 
Light $19,000. Last week, "The 
Ring” (UA) and "Cry, Beloved 
Country” (UA), $27,600. 

Beverly’ Hills, Downtown (WB) 
(1,612; 1,757; 80-$lJ20) — "Les 

Miserable?” (20th) (4th wk). Small 
$6,000. Last week, $7,000. 

Los Angeles, Hollywood Para- 
mounts (UPT-F&M) (3,300; 1,430; 
70-$1.10) — r "Assignment Paris” 
(Col) and “Oriental Evil” (Indie) 
(L. A. Par dnly). Light $18,000. 
Last week, L. A. Paramount, 
"Wagons West” (Mono) with Lionel 
Hampton oreh topping stagebill, 
$27,300. • “ 

Bit*, Loyola, Vogue, Globe 
(FWC) (1,370; 1,248; 885; 782; 70- 
$1.10)— “Woman of North Country” 
(Rep) and “Gallant Thoroughbred” 
(Rep) (reissue). Lukewarm $6,000. 
Last week. Vogue, Loyola, Globe, 
El Rey, “Pancho Villa Returns” 
(Indie) and “Feudin’ Fools” (Mono), 
$8,700. 

Canon (ABC) (533; $1.20)— “Full 
House” (20th) (2d wk). Smart 
$8,000. Last week, smash $9,200. 

Wilshire (FWC) (2,296; 80-$1.50) 
—“Carrie” (Par) (7th wk). Dull 
$2,700. Last week, $2,800. 

Four St&r (UATC) (900; 70-90)— 
“Cyrano” (UA) and "Kon-Tiki” 
(RKO) (reissues). Thin $2,300. Last 
week, “One Minute Zero” (RKO) 
(3d wk), $2,200. 

United Artists (UATC) (2,100; 70- 
90) — “Yankee Buccaneer” (U) and 
"Scatterbrain” (Rep) (2d wk). Slow 
$2,300. Last week, $4,500. 

Palace (Metropolitan) (1,230; 70- 
90) — “World in Arms” (U) (6th wk) 
and “Where’s Charley” (WB) (2d 
run). ' So-so $4,000 or near. Last 
week, with Hollywood Paramount, 
$10,500. 


Broadway Grosses 

Estimated Total Gross 

This Week $536,300 

( Baked on 19 theatres ) 

Last Year $587,700 

( Based on 19 theatres ) 


‘Fatima’ Huge 29G 
Tops Slow Philly 

Philadelphia, Sept. 30, 

“Miracle of Our Lady of Fatima” 
struck a fast pace right at the start 
and was boosted further by a big 
weekend. "Assignment Paris” also 
broke well and maintained its pace 
at the Goldman. “My Man and I” 
looks okay at Stanton. “Fearless 
Fagan” is dull at the Midtown. 
“Rose Bowl Story” is being jielped 
by Duke Ellington on the stage hut 
only fair session looks at the Earle. 

Estimates for This Week 

Arcadia (S&S) (625 ; 85-$1.20)— 
“Merry Widow” (M-G) (5th wk). 
Good $9,000. Last week, fine 
$ 10 , 000 .- 

Boyd (WB) 2,360; 80-$1.30)— 

“Miracle of Fatima” (WB). Terrific 
$29,000. Last week, “Devil Makes 
Three” (M-G), mHd $8,500 for last 
5 days. 

Fox (20th) (2,250; 50-99)— 

“Monkey Business” (20th) (2d wk) 
plus Marciano-Walcott fight pix. 
Fight film’s helping to hold this to 
big $17,000. Last week, $20,000. 

Goldman (Goldman) (1,200; 50- 
99) — “Assignment Paris” (Col). 
Sturdy 20,000. Last week, “Sudden 
Fear” (RKO) (5th wk), great 
$ 10 , 000 . 

Mastbamn (WB) (4,360; 50-99) — 
“What Price Glory” (20th) (3d wk). 
Way down to $8,500. Last week, 
small $11,000. 

Midtown (Goldman) (1,000; 50-99) 
— “Fearless Fagan” (M-G). Sad 
$5,000. Last week, “Captain Pirate” 
(Col), $6,500. 

Randolph (Goldman) (2,500; 50- 
99)— “Full House” (20th) (2d wk). 
Thin $9,000. Last week, strong 
$18,000. 

Stanley (WB) (2,900; 50-99)— 
“One Minute to Zero” (RKO) (2d 
wk) plus fight pix. Mild $13,000. 
Last week, good $20,000. 

Stanton (WB) (1,473; 50-99)— 
“My Man and I” (M-G). Okay $8,- 
500. Last week, “Black Swan” 
(20th) and “Laura” (20th) (re- 
issues), $8,000. 

Trans-Lux (T-L) (500; 85-$1.20) — 
“Dreamboat” (20th) (4th wk). Hold- 
ing at $5,000 near last week’s big 
$5,200. 

Earle (WB) (2,700; 50-$1.10)— 
“Rose Bowl Story” (Mono) with 
Duke Ellington onstage. Band is 
helping but only fair $16,500 looms. 
Last week, not open. 


“Pirate’ Socko (15,000, 
Port.; V Rogred 13G 

Portland, Ore., Sept 30. 

Biz has gone into a slump here 
partly because of the opening of 
city’s first TV station. Extreme 
heat also has hurt. Standout cur- 
rently is "Crimson Pirate,” smash 
at the Broadway. “Big Sky” shapes 
nice in two spots. 

Estimates for This Week 

Broadway (Parker) (1,890; 65-90) 
—“Crimson Pirate” (WB) and 
“Without Warning” (UA). Smash 
$15,000. Last week, "Where’s Char- 
ley” (WB) and “Captive City” 
<UA), $7,000. 

Liberty (Hamrick) (1,850; 65-90) 
— “Washington Story” (M-G) and 
“Desert Passage” (RKO). Fine $8,- 
000 or close. Last week, “The Mer- 
ry Widow” (M-G) and “You. For 
Me” (M-G) (3d wk), $8,000. 

Mayfair (Evergreen) (1,500; 65- 
90)— ■-“Wild Heart” (RKO) and 
“Maytime In Mayfair” (Indie). 
Mild $3,500. Last week, legit play. 

Oriental (Evergreen) (2,000; 65- 
90)— “Big Sky” (RKO) and Mar- 
ciano-Walcott fight pix. day-date 
with Orpheum. Good $5,000. Last 
week, “Monkey Business” (20th) 
and "Shores of Tripoli” (20th) (re- 
issue), $4,800. 

Orpheum (Evergreen) (1,750; 65- 
90)— “Big Sky” (RKO) and Mar- 
ciano fight films. Nice $8,000. Last 
week, "Greatest Show” (Par), $9,- 
000 . 

„ Paramount (Evergreen) (3.400; 
tf5-90) — “Monkey Business” (20th) 
and “Shores Tripoli” (20th) (re- 
issue) (2d wk). Big $7,400. Last 
week. $8,800. 

United Artists (Parker) (890: 65- 
90 — “Just For You” (Par) (2d wk). 
Oke $7,500. Last week, fine $9,400. 


•franW Giant $40,000, 
Pitt,; donkey’ Tall 9G, 
‘Fatima’ Fancy 9|G, 3d 

Pittsburgh, Sept. 30. 
“Ivanhoe” is delivering the ex- 
pected smash session at the Penn, 
and will shake loose the biggest 
gross there in years. Looks set for, 
a run. Walcott-Marciano fight pix 
are helping second week of "Crim- 
son Pirate” at Stanley while 
Marilyn Monroe’s b.o. draw is 
credited with putting over 
"Monkey Business” at the Harris. 
‘Untamed Frontier” just so-so at 
Fulton. Third week of “Lady of 
Fatima” and second of “Lady 
Vanishes” both are still in the 
chips. 

Estimates for This Week 
Fulton (Shea) (1,700; 50-85) — 
‘ Untamed Frontier” (U). Nothing 
much for this at $5,000. Last 
week, “Full House” (20th\ '$4,200. 

Harris (Harris) (2,200; 50-85) — 
“Monkey Business” (20th). Sturdy 
$9,000. Sticks two extra days to 
put house back on Friday opening 

(Continued on page 24) 


Crosby Hotsy 10G 
Tops Mild Mpls. 

Minneapolis, Sept. 30. 

Fresh entries are limited to four 
bills as holdovers and moveovers 
currently are perking here this 
session. Comparatively limited 
choice of new product and week- 
end return of warm weather helped 
to depopulate the Loop and make 
for boxoffice blues. 

First honors go to “Just for You” 
at- Radio City, where good. “One 
Minute to Zero” looks fine at Or- 
pheum. “Fearless Fagan” and “Les 
Miserables” are finding the going 
rough. Moveovers of “The Quiet 
Man” and “Sudden Fear” are do- 
ing well.' 

Estimates for This Week 

Century (Par) (1.600; 50-76) — 
“Les Miserables” (20th). Well re- 
ceived all around, but absence of 
cast names a handicap. Good $5.- 
000. Last week, “Merry Widow,” 
(M-G) (3d wk), $4,500. 

Gopher (Berger) (1,000; 50-76) — 
“Don’t Bother To Knock” (20th) 
(2d wk). Potency of Monro e-Wid- 
mark name combo helDing this one 
at boxoffice here. Okay $4,000. 
Last week, $6,200. 

Lyric (Par) (1,000; 50-76)— 
“Quiet Man” (Rep.) (m.o.). Moved 
here after hitting good initial Ra- 
dio City pace. First moveover here 
in many months. Nothing but 
(Continued on page 24) 


Ivanhoe’ Wow $57,000 in OK Hub; 
‘Miracle Brisk 17G, ‘Quiet’ 18G, 2d 


.. Boston. Sept. 30. 

Two 'newcomers, “Ivanhoe” - at 
State and Orpheum and “Miracle 
of Lady of Fatima” at Astor, each 
at tilted prices, are both great. 
With the exception of the oldie 
combo, “Fuller Brush Man” and 
“Fuller Brush Girl” at the Boston, 
and return date of “Tales of Hoff- 
mann” at Beacon Hill other majors 
are holding over. “Stranger in 
Between” at Exeter opened Sun- 
day. “Quiet Man” still is getting 
sizable coin in second Met session. 

Estimates for This Week 

Astor (B&Q) (1,500; 74-$1.20)— 
“Miracle of Lady of Fatima” (WB). 
Great $17,000. Last week, “As- 
signment Paris” (Col) (2d wk), be- 
low expectations at $5,000. 

Beacon Hill (Beacon Hill) (682; 
50-90)— “Tales of Hoffmann” (UA). 
Opened today (Tues.). Last week, 
“Lady Vanishes” (UA) and “The 
Scarf” (UA) (2d wk), nice $4,000. 

Boston (RKO) (3,000; 40-85)— 
“Fuller Brush Man” (Col) and 
“Fuller Brush Girl” (Col) (reissues) 
plus Marciano-Walcott fight pix. 
So-so $9,000. Last week, “Golden 
Hawk” (Col) and “Desert Passage” 
(RKO), good $13,000. 

Exeter (Indie) (1,300; 60-80)— 
“Stranger in Between” (U). Opened 


Sunday (28). Last week, “Island 
Rescue” (Uy- and “Ivory Hunter” 
(U) (4th wk), oke $4,000. 

Fenway (NET) (1,373; 40-85)— 
“Just for You” (Par) and “Woman 
of North Country” (Rep) (2d wk). 
Off to about $3,500 following oke 
$5,500 for first. 

Memorial (RKO) (3,000; 40-85)— 
“Big Sky” (RKO) and “Secret Peo- 
ple” (Lip) (2d wk). Held at $14,- 
000 after solid $19,500 for first. 
Fight pix added during current 
session. 

Metropolitan (NET) (4,367; 40- 
85)— “Quiet Man” (Rep) (2d wk). 
Skidded to $18,000 following 
sturdy $26,000 opener, but below 
expectancy. 

Orpheum (Loew) C3.0QQ; 74-$1.25) 
— “Ivanhoe” (M-G). WoW $34,000. 
Last week, “Fearless Fagan” 
(M-G) and “Rainbow Round Shoul- 
der” (Col), slow $9,500 in six days. 

Paramount (NET) (1,700; 40-85) 
— “Just for You” (Par) and “Wom- 
an of North Country” (Rep) (2d 
wk). Near $9,000 after tasty $14,- 
000 for first. 

State (Loew) (3,500; 74-$l.’25‘) — 
“Ivanhoe” (M-G). Sock $23,000. 
Last week, “Fearless Fagan” (M-G) 
and “Rainbow Round Shoulder” 
(Col), slender $5,000 in 6 days. 


Ivanhoe’ Smash $30,000 Paces K.C 

w 

‘For You’ Great 15G, buccaneer 11G 


Key City Grosses 

Estimated Total Gross 

This Week $2,300,100 

( Based on 22 cities, 196 the- 
‘ atres, chiefly first runs, includ- 
ing N. Y.) 

Total Gross Same Week 
Last Year . ...... $2,487,000 

( Based on 25 cities, and 216 
theatres . ) 


‘Quiet’ Sockeroo 
$18,000 iii Cleve. 

Cleveland, Sept. 30. 

Main stem houses are galvanized 
by a brace of boxoffice heavy- 
weights, led by State’s “Quiet 
Man,” which did terrific weekend 
biz, and looks like one of house 
toppers for season. “Ice Capades 
of 1953” moved into Arena to cop 
capacity trade at start but is not 
hurting many of key spots. 
“Miracle of Fatima” still is sock 
on third rounds at Allen. “High 
Noon” on stayover at Hipp con- 
tinues to be big. Same goes for 
“Ivanhoe” on ninth lay at Still- 
man. 

Estimates for This Week 

Allen (Warner) (3,000: 55-85) — 
“Miracle of Fatima” (WB) (3d wk). 
Sock $10,000 after $19,000 last 
folio. 

Hipn (Telemagemont) (3.700; 55- 
85)— “High Noon” (UA) (2d wk). 
Smart $13,000, following great 
$22,000 last week. 

Ohio (Loew’s) (3,300; 55-85)— 
“Son of Paleface” (Par) (m.o.). 
Stout $7,500. .Last week, “Jump- 
ing Jacks” (Par) (m.o.), great $8 4 - 
500 on third downtown week. 

Palace (RKO) .(3,300; 55-85)— 
“Assignment Paris” (Col). .Okay 
$13,000. Last week. “Full House” 
(20th), average $7,000, but week 
helped by telecast of Walcott- 
Mardiano fight, which pulled $4,- 
500. 

State (Loew’s) (3,450; 55-85)— 
“Quiet Man” (Rep). Great $18,- 
000, and holding. Last week. “Son 
of Paleface” (Par), big $16,000. 

Stillman (Loew’s) (2,700; 55-85) 
— “Ivanhoe” (M*-G) (9th wk). Fine 
$9,000, about same as last week. 

Tower (Telemagemont) (500; 55- 
85) — “Comanche Territory” (U) 
and “Apache Drums” (U) (re- 
issues). Oke $2,500. Last week, 
“What Price Glory” (20th) (m.o.), 
average $2,400. 


‘Alley’ Lively $14,500, 
Toronto; ‘Quiet’ Terrif 
25G, ‘House’ 11G in 2d 

* Toronto, Sept. 30. 

It is mostly holdover at the 
major first-runs but all appear 
warranted. In fact, “Quiet Man” 
looms even bigger on second stanza 
than first at Imperial, both being 
terrific. Also in subsequent frames 
are “Affair in Trinidad,” “Full 
House,” “Carrie” and “Merry 
Widow,” all big. One of few new- 
comers, “Glory Alley,” shapes okay 
in six houses. 

Estimates for This Week 

Crest, Downtown, Glendale, May- 
fair, Scarhoro., ..Stale. (Taylor) ..(863; 
1,059; 955; 470; 698; 694; 35-60)— 
“Glory Alley” (M-G) and ’ “Con- 
fidence Girl” (UA). Satisfactory 
$14,500. Last week, “Cripple 
Creek” (Col) and “Sea Tiger” 
(Mono), $15,000.“. 

Eglinton (FP) (1,080; 40-80) — 
“Les Miserables” (20th) (2d wk). 
Oke $6,000. Last week, $7,000. 

Imperial (FP) (3,373; 50-80) — 
“Quiet Man” (Rep) (2d wk). Smash 
$25,000 to top last week’s $24,000. 

Loew’s (Loew) (2,748; 50-80) — 
“Merry Widow” (M-G) (3d wk). 
Holding sturdily at $8,000. Last 
week, $10,000. 

Odeon (Rank) (2,390; 50-90) — 
“Full House” (20th) (2d wki. Lusty 
$12,000. Last week, $14,000. 

Shea’s (FP) (2.396; 40-80)— “Af- 
fair Trinidad” (Col) (2d wk). Lusty 
$12,000. Last week, $14,000. 

University (FP) (1,558; 40-80)— 
“Carrie” (Par) (3d wk). Holding 
nicely at $8,500. Last week* $10,- 
500. 

Uptown (Loew) (2,743; 40-80) — 
“Son of Ali Baba” (U). Light 
$6,500. Last week, “Devil Makes 
Three” (M-G), $6,000. 


Kansas City, Sept. 30- 
Strong newcomers, “Ivanhoe”* at 
Midland and “Just for You” at 
Paramount are racking up sock 
grosses Here currently. Playing at 
advanced prices, “Ivanhoe” niav 
top $30,000 in its first week, ni a /. 
ing it in the “Quo Vadis” class 
“Just for You” is also great at a 
smaller house, will stay a second 
stanza. Moderate biz is indicated 
for “Big Sky” at the Missouri while 
Fox Midwest four first-runs are 
getting only fairish returns on 
“Yankee Buccaneer” and “Son of 
Ali Baba.” Weather is unseasonally 
warm here, encouraging outdoor 
activity. 

Estimates for This Week 
Kimo (Dickinson) (504; 50-75)^ 
“Outcast of Islands” (UA) (3d wk) 
Slowed down to $1,000. Last week! 
satisfactory $1,500. 

Midland (Loew’s) (3,500; 75-$l io) 
— “Ivanhoe” (M-G). Continuous 
showing at upped scale landing a 
terrific $30,000. Will hold. Last 
week, “Devil Makes Three” <M-G) 
and ">Glory Alley” (M-G), mild $8.* 
000 at 75c top. 

Missouri (RKO) (2,650; 50-75) 

“Big Sky” (RKO) and “Feudin’ 
Fools” (Mono). Moderate $7,500. 
Last week, “One Minute To Zero’* 
(RKO) and “Models, Inc.” (Indie), 
healthy $9,000. 

Paramount (Tri-States) (1,900: 
50-75) — “Just for You” (Par). One 
of bigger films of fall season here, 
rousing $15,000 for first week. 
Holds. Last week, “Carrie” (Par), 
dull $6,000. 

Tower, Uptown, Fairway, Gran- 
ada (Fox Midwest) (2,100; 2.043: 
700; 1,217; 50-75)— "Yankee Buc- 
caneer” <U) and “Son of Ali Baba” 
(U). Light $11,000. Last week, 
“Don’t Bother To Knock” (20th) 
and “Outcasts Poker Flat” (20th), 
average $13,000. 

Vogue (Golden) (550; 50-85)— 
“Island Rescue” (Indie) (2d wk). 
Fairish $1,400. Last week, oke 
$1,600. 

‘Ivanhoe’ Socko $20,000, 
Iodpis.; ‘Bonzo’ Bright 
11G,‘1 Minute’ Oke 9G 

Indianapolis, Sept. 30. 
-Biz is showing first signs of fall 
upturn at first-runs here this stanza. 
“Ivanhoe,” after slow start, is 
smash at Loew’s to lead city. 
“Bonzo Goes To College,” at Cir- 
cle, is stout on good family draw. 
“One Minute to Zero” at Indiana 
is oke. 

Estimates for This Week 
Circle (Cockrill-Dolle) (2.800; 50- 
76)— “Bonzo To College” (U) and 
“Son of Ali Baba” (U). Solid $11,- 
000. Last week, “Dreamboat” (20th 
and “Dark Man” (Indie), $11,500. 

Indiana (C-D) (3,200; 50-76)— 
“One Minute To Zero” (RKO) and 
“Sea Tiger” (Mono). Okay $9,000. 
Last week, “Caribbean” (Par) and 
“Arctic Flight” (Mono), $8,000. 

Loew’s (Loew’s) (2,427; 76-$1.10) 
—“Ivanhoe” (M-G). Smash $20,- 
000 to top town. Last week, “High 
Noon” (UA) and “Last Train From 
Bombay” (Col) (2d wk), slow $6,- 
500. 

Lyric *<C-D) (1,600; 50-76)— “Un- 
tamed Frontier” (U) and “Gold 
Fever” (Mono). Fair $4,500. Last 
week, “Latuko” (Indie) and “Road 
Agent” (RKO), $5,000. 

‘Bombay’ Hefty $13,000, 
Mont’l; ‘Duel’ Big 10G 

Montreal, Sept. 30. 

' “Merry Widow” - at Loew’s con* 
tinues to lead all the city following 
a socko first week. “Encore” at 
Palace and “Last Train From 
Bombay” are doing well for new- 
comers. “Don’t Bother 1 to Knock’ 
still is okay in second Capitol week. 
Estimates for This Week 
Palace (C.T.) (2,626; 34-60) — 
“Encore” (Par). Fine $15,000. Last 
week, "We’re Not Married” '20th) 
(2d wk), $12,000. 

Capitol (C.T.) (2,412; 34-G0) -- 
“Don’t Bother To Knock” (20th) 
(2d wk). Okay $12,000 following 
hot $19,000 opener. 

Princess (C.T.) (2,131; 34-60) — 
“Last Train Bombay” (Col). Hefty 
$13,000. Last week, "‘Fearless Fa- 
gan” (M-G) $9,000. 

Loew’s (C.T.) (2,855; 40-65) —■ 
“Merry Widow” (M-G) (2d wk). 
Sock $22,000 after smash first at 
$28,000. 

Imperial (C.T.) (1,839; 34-60) -- 
“Duel at Silver Creek” <U> and 
“Let’s Live Again” (UK Big $10,000. 
Last week, “Brigand” (Col) and 
“Storm Over Tibet” (CoP, $7,000. 

Orpheum (C.T.) (1,048; 34-60) — 
“Girls in .Chains” (PRC) and ‘City 
of Silent Men” (PRC) (2d wk). Off 
to $7,000 after big $10,000 in first. 



P&&IETY 


PICTURE GROSSES 


9 


1 r Wednesday, Octolber 1, 19^2 


i 


I 



Chi Better; Tor You’ Fancy $25, 
‘Duel-Groom’ Trim 16G, ‘Conquest’ 

14G; ‘Quiet’-Vaude Hot 38^G, 2d 


Chicago, Sept. 30. 
rhicaso first-run bpxoffice seems 
h t sluggish but a little above 
weekf “Just For You” at the 
Palace will lead the new product, 
and should hit a fancy $25,000. 

velt ’promises a neat $16,000 while 
"Assignment Pans” coupled with 
“California Conquest' at United 
Artists might capture an okay $14 - 
000 “Yankee Buccaneer and 
“Tnst Train From Bombay at 
Grand will end up with a favor- 
able $14,000 for 9 days. 

In the second week column, the 
Chicago with “Quiet Man” and a 
Sid stapeshow is boldmg m great 
stvle Carrie 'and 3 r or r>ea 
room C” at State-Lake is headed 
for moderate total. 

Oriental, with “Sudden ^n 

the third week brought in the Mar- 

c ano-Walcott fight pix, business 
jumping to fine session. High 
Treason" at the Surf looks good for 
third week. “Jumping Jacks .at 
the Woods is holding at a trim 
figure in fourth frame. 

Estimates for This Week 
Chicago (B&K) (3, §00; 98-$1.25) 

-Quiet Man” (Rep) (2d wk) and 

stageshow (2d wk). Holding strong- 
ly at sock $38,500. Last Week, big 

$4 G?and (RKO) (1,500; 55-981— 
“Yankee Buccaneer” (U) and * Last 
Train Bombay” (Col). Nine day 
stint should hit bright $14,000. 
Last week. “Bonzo To College 
(U i and “Son Ali Baba” (U), $7,- 
000 in 5 days. 

Oriental (Indie) (3,400; 98)-— 

“Sudden Fear” (RKO) (3d wk). 
Marciano-Walcott fight pix hypoed 
biz some, with brisk $25,000. Last 
week, $25,000. 

Palace (Eitel) (2,500; 98) — ‘Just 
For You” (Par). Crosby pic looks 
fancy $25,000. Last week. “Merry 
Widow" (M-G) (3d wk), fine $16,- 
000 . 

Roosevelt (B&K) (1,500; 55-98) — 
“Duel at Silver Creek” (U) and 
“No Room for Groom” CU>. Hit- 
ting sturdy $16,000. Last week, 
“Dreamboat” (20th) and “Paula” 
(Col) (2d wk), $8,000. 

State-Lake (B&K) (2,700; 55-98) 
—“Carrie” (Par) and “3 For Bed- 
room C” (Par) (2d wk). Moderate 
$10,000. Last week, fine $18,000. 

Surf (H&E Balaban) (685; 98) — 
“High Treason” (Indie) (3d wk). 
Holding neatly at $4,000,, Last 
week. $5,000. 

United Artists (B&K) (1,700; 55- 
OS) — “Assignment Paris” (Col) and 
“California Conquest” (Col). Might 
get okay $14,000. Last week, 
“Strange World” (UA) and “Un- 
tamed Women” (UA) (2d wk), $8,- 
000 . 

Woods (Essaness) (1,073; 98) — 
“Jumping Jacks” (Par) (4th wk). 
Topping last week at big $17,000. 
Last week, stout $16,000. 

World (Indie) (587; 98)— “Ero- 
ica” (Indie) (2d wk). Shaping up to 
dandy $3,000. Last week, $3,500. 

‘Pirate’ Bangup $13,500 
In Cincy; ‘Monkey' 15G, 
‘Fagan’ 7G, ‘Friend’ 11G 

_ Cincinnati, Sept. 30. 

Downtown trade is holding to 
brisk autumn clip this .round in the 
* a £ e °f night football by high 
school and university teams plus 
f a ^ 10 , a °d TV political pitches. 
Monkey .. Business” ~ .aU-Alhea. 
good, with “Crimson Pirate” the 
^ a ; stan d°ut with sock Palace take, 
noth houses are getting support 
irom additions of the Walcott- 
Marciano fight pix. Other new bills 
on the okay side are “My Wife’s 
S^end” at Capitol and “Fear- 
less Fagan” at the Grand. 

Estimates for This Week 
AJbee (RKO) (3,100; 55-75) — 
* Business” (20th). Good 

o.OOO °r near. Last week, “Merry 

not in< dud- 

tefecasPn t^ alcott " Marcian0 fi S ht 

‘ R ^ 0) (2 ’ 000; 55 " 75) — 
Su-LA 11 ,^ Best Friend” (20th). 

^ oa’S?®* Las £ week, “Full 
House .20th), $9,506. 

‘TWi nd ( 5 K0) (1400; 55-75) — 
Man In* 5 ! 1 p? gan ” (M "G) and “My 
or bettor t 

Throo” 01 week, ‘Devil Makes 

“Suddon ( 1,400; 55-75V — 

vorabiAr- e n a n r t (RK 0) Fa ‘ 

Palcf A" Yi? Last week, “Son of 
diciaco .Pan $7 1500 

“Crfm5f I i I ^ 0> (2,600; 55-75 — 
$13.50) \ >lrate ; (WB) - Swell 

IRK 0 $14 ( 09 eek ' " Sudden Fear " 


Estimates Are Net 

Film gross estimates as re- 
ported herewith from the vari- 
ous key cities, are net;.. L e., 
without the 20% tax. Distrib- 
utors share on net take, when 
playing percentage, hence the 
estimated figures are net in- 
come. 

The parenthetic admission 
prices, however, as indicated, 
include the U. S. amusement 
tax. 


‘Woman’-'Wac’ Hep 
$14,099 in Frisco 

San Francisco, Sept, 30. 

Plenty of holdovers here this 
week, with the overall gross pic- 
ture not very bright. “Woman of 
North Country” paired with “WAC 
from Walla Walla” shapes nice at 
the Golden Gate while “Caribbean” 
with two days of vaude also looms 
fine at Paramount. TV of fight 
boosted second week of “Just For 
You,” the telecast grossing $7,200 
which represented standing room 
capacity at the Paramount last 
week. “Quiet Man” looks strong In 
second round at the Fox. 

Estimates for This Week 

Golden Gate (RKO) (2,850; 65- 
95) — “Woman Of North Country” 
(Rep) and “WAC Walla Walla” 
(Rep). Nice $14,000. Last* week, 
“One Minute To Zero” (RKO) (2d 
wk), oke $12,200. 

Fox (FWC) (4,651; 65-95)— 

“Quiet Man” (Rep) and “Tropical 
Heat Wave” (Rep) (2d w'k). Strong 
$17,000 or near. Last week, $23,000. 

Warfield (Loew’s) (2,656; 65-95) 
—“Lovely Look At” (M-G) (2d wk). 
Off to $12,000. Last week, fine 
$18,000. 

Paramount (Par) (2,646; 65-95) — 
“Caribbean” (Par) and “Gold 
Fever” (Mono) plus stageshow 
headed by Wendell Corey, Jan 
Sterling, Estelita, Frank Faylen for 
two days. Nice 16,000 or under. 
Last week, “Just For You” (Par) 
(2d wk), okay 10.000. 

St. Francis (Par) (1,400; 65-95)— 
“Full House” (20th) (2d wk). Thin 
$7,000. Last week, $10,000. 

Orpheum (No. Coast) (2,448; OS- 
OS) — “Island Of Desire” (UA) and 
“Gallant Thoroughbred” (Rep) (re- 
issue). Weak 9,000. Last week, 
“Son of Ali Baba” (U) and “Dan- 
gerous Assignment” (Indie), good 
11,500. 

United Artists (No. Coast) (1,207; 
65-95)— “Untamed Women” (UA) 
and “Actors and Sin” (UA). Color- 
less $6,500: Last week, “Park 
Row” (UA), drab $4,500. 

Stag edoor (A-R) (370; 85-$l)— 
“High Ti^ason” (Indie) (3d wk). 
Holding at $3,000. Last week, fine 
$3,400. 

Clay (Rosener) (400; 65-85) — 
“High Treason” (Indie) (3d wk). 
Pushed to $2,700. Last week, big 
$2,500. 

Larkin (Rosener) (400; 65-85) — 
“Under Paris Sky” (Indie) and 
“Grand Illusion” (Indie). Oke 
$2,200. Last* week, “Tomorrow Too 
Late” (Indie) (4th wk), $2,100. 

Vogue (S.F. .Theatres) (377; 85-$l) 
— “Lady Vanishes” <UA) (6th wk). 
-Keld-'Ot' $1*390*-- Last. - week, solid 
$1,800. 

TVANHOE’ BOFF 32G, 

ST. LOO; ‘MONKEY’ 16G 

St. Louis, Sept. 30. 

Despite excellent weather over 
the weekend and hiked admission 
scale, always frowned on by the na- 
tives, “Ivanhoc” is creating the big 
noise here currently at the down- 
town Loew’s. It is landing a ter- 
rific 1 total. Fine bally is getting 
“One Minute To Zero” off to a 
solid start at the Fox. “Monkey 
Business” also looks fine at Am- 
bassador. “Tales of Hoffmann” 
shapes okay in holdover in two 
small houses. 

Estimate^ for This Week 

Ambassador (F&M) (3;000; 60-, 
75) — “Monkey Business” (20th) and 
“Woman of North Country” (Rep). 
Fine $16,000. Last week, “Sudden 
Fear” (RKO) and “Models, Inc.” 
(Indie), solid $15,500. 

Fox (F&M) (5,000; 60-75)— “One 
Minute to Zero” (RKO) and 
“Wagons West” (Mono). Good $8,- 

1 (Continued on page 24) • 


1 ‘Paleface’ Powerful 17G, 
Seattle; ‘Fear’ Good 9G 

• Seattle, Sept. 30. 

Biz here* this round is sagging, 
with newcomers on slow side for 
most part. However, the Coliseum 
is in the chips, with “Son of Pale- 
face,” aided by fight films. “Mira- 
cle of Fatima” still is doing well 
in second session. 

Estimates fer Ti.:s Week 

Blue Mouse (Hamrick) (800; 90- 
$1.25) — “Miracle of Fatima” (WB) 
(2d wk). Good $4,500 after big 
$7,400 opener. 

Coliseum (Evergreen) (1,829; 65- 
90) — “Son of Paleface” (Par) and 
fight pix. The 13-round bout film 
is definite help. Huge $17,000. 
Last week, “Capt, Pirate” (Col) 
and “Last Train to Bombay” (Col), 
okay $8,700. 

Fifth Avenue (Evergreen) (2,366; 
65-90) — “Les Miserables” (20th). 
Mild $7,000. Last week, “Full 
House” (20th), nice $9,000 in 9 
days. 

Liberty (Hamrick) (1,650; 65-90) 
— “Fearless Fagan” (M-G) and 
“Allan Lane” (Rep). Mild $6,000 
or near. Last week, “Devil Makes 
3” (M-G), 2d-wk-3 days), $2,600. 

Music Box (Hamrick) (1,650; 65- 
90)— “Cry Beloved Country” (UA). 
Slow $2,500. Last week, “One 
Minute to Zero” (RKO) (4th wk- 
3 days), $2,200. 

Music Hall (Hamrick) (2,283; 65- 
904 — “Merry Widow” (M-G) and 
“You For Me” (M-G) (3d wk). Big 
$7,000. Last week, $8,400. 

Orpheum (Hamrick) (2,599; 65- 
90)— “Sudden Fear” (RKO). Good 
$9,000- or near. Last week, “Bonzo 
To College” (U), $4,700. 

Palomar (Sterling) (1,350; 40-70) 
— “7 Sinners” (Indie) and “Scar- 
lett St.” (Indie) (reissues). Oke 
$4,000. Last week, “Black Swan” 
(20th) and “Rain Came” (20th) (re- 
issues), fair $3,300. 

Paramount (3,039; 65-90) — “Big 
Sky” (RKO) (2d wk). Nice $7,000 
after $9,300 last week. 

‘Pirate’ Rousing 

$15,000 in D.C. 

Washington, Sept. 30. 

Main -stem shapes mild com- 
pared to past week when preem of 
“Ivanhoe” and the Marciano-Wal- 
cott bouts proved to be biz boost- 
ers. Sole newcomer to make much 
of a dent is “Crimson Pirate,” 
solid at the Warner. “My Wife’s 
Rest Friend” plus vaude, is so-so 
at Loew’s Capitol. “Ivanhoe.” in 
s.cond stanza at Loew’s Palace, 
continues boff after breaking all 
records on initial Saturday. “Car- 
rie,” in second week at Trans-Lux, 
is sturdy. 

Estimates for This Week 

Capitol (Loew’s) (3,434; 55-95) — 
“Wife's Best Friend" (20th) plus 
vaude. Okay $18,000, but below 
recent weeks. Last week, “Island 
of Desire” (UA) plus vaude, nice 
$ 20 , 000 . 

Columbia (Loew’s) (1,174; SO- 
SO) — “Caribbean” (Par). Fine 
$8,000. Last week, “Merry Widow” 
(M-G) (m.o.), nice $5,000 for third 
■downtown week, 

Dupont (Lopert) (372; 50-85) — 
“ Cry Beloved Country” (Indie). 
Bright $4,500 for small-seater. 
Last week, “Song of Bernadette” 
(20th) (reissue), firm $4,000 in 10 
days. 

Keith's (RKO) (1,939; 50-85) — 
“Allegheny Uprising" (RKO) and 
“Annie Oakley” (RKO) (reissues) 
plus fight pix. Good $9,000 for 
these oldies with fight reels help- 
ing. Last week, “Big Sky” (RKO) 
12d-wkV.st.eady~$8,500. ior 6&. days, 
Absolute capacity for TV fight, 
with standees bringing total to 
slightly under $6,000 for the one 
shot. 

Palace (Loew’s) (2,370; 74-$1.25) 
—“Ivanhoe” (M-G) (2d wk). Con- 
tinues as champ with boff $32,000. 
Stays. Last week’s smash $49,000 
was second only to “Quo Vadis” 
(M-G), which played at higher 
scale. 

Playhouse (Lopert). (485; 50-$l) 
— “High Treason” (Indie) (6th- 
final wk). Okay $3,500 for stage of 
run, and moves on. Last week, 
$4,000. 

Metropolitan (Warner) (1,200; 
’50-80) — “Stolen Face” (Lip) arid 
‘‘Outlaw 'Women'”' (LIpT.'“ * Average 
$5,000. Last week, “Woman of 
Nofrth Country” (Rep), $3,000. 

Warner (WB) (2,174; 50-80) — 
. “Crimson Pirate” (WB). Solid 
$15,000 to top town, for newcomers. 
Last week, “Assignment Paris” 
(Col), oke $11,000. Televised fight 
brought in additional SRO, and 
$6,700, with house scaled at $3.60. 

Trans-Lux (T-L) (600; 60-$l) — 
“Carrie” (Par). Bright $9,000 after 
big $11,000 last week. Holds 
again. 


Strong Films Lift B’way; ‘You’re Mine’ 
Big 145G, ‘Somebody’-Mary Small Tall 
99G, ‘Widow’ Sock 41G, “Magic’ $10,490 


Five new bills, all except one 
doing well, plus cool weather and 
seasonal factors, are keeping 
Broadway first-run business on an 
even keel this session. Offish trend 
last Thursday (25) and early Friday 
was counteracted by the launching 
of fresh product and a sharp upbeat 
on Saturday. Both the Music Hall 
and the Roxy shape big with their 
new shows. All houses suffered on 
Tuesday (22). with the Nixon TV 
speech blamed. 

“Because You're Mine” with 
stage show is heading for $145,000 
in opening stanza at the Hall. 
“Somebody Loves Me,” plus Mary 
Small, A1 Bernie and iceshow head- 
ing stage lineup, wound up its 
initial frame with $90,000 or near 
at the Roxy. Personals by George 
Jessel, Milton Berle, Benny Fields 
and Blossom Seeley opening day 
(24) got the film off to a rousing 
start. 

New ace straight-filmer is “Merry 
Widow,” which looks smash $41,000 
or thereabouts on initial round at 
the State. Fullscale bally was a 
helpful factor. Lone weakie new- 
comer is “You For Me,” with dull 
$5,000 opening at the Globe stanza 
despite a preview on Sunday (28). 
“Magic Box’*’ rounded out its first 
week on Monday (29) with a solid 
$10,400 at the Normandie, with a 
longrun in prospect. 

Second session of “Snows of 
Kilimanjaro” continues in smash 
style with around $61,000 at the 
Rivoli, with an indefinite run 
assured. “The Quiet Man” still is 
going great guns, with $27,000 or 
better in prospect for the sixth 
frame at the Capitol. 

“Big Jim McLain” with Mills 
Bros., Jean Carroll, Danny Lewis, 
Tommy Reynolds band heading 
stageshow finished its second 
stanza with an okay $53,000 at the 
Paramount. “Son of Paleface” 
opens today (Wed.) with Bob Hope, 
star of the film, making personals 
opening day. 

“One Minute To Zero” is off 
considerably but still strong with 
$16,000 for second frame at the 
Criterion. “Miracle of Our Lady of 
Fatima” continues okay with 
around $12,000 in sixth session at 
the Astor. 

“High Noon” continues in sensa- 
tional style with big $14,000 in 
current (10th) round at the May- 
fair. “Affair in Trinidad” still is 
fine at $10,000 for its ninth Victoria 
stanza. “Night Without Sleep” and 
the usual eight acts of vaudeville is 
heading for a nice $22,000 at the 
Palace. Oddly enough the Walcott- 
Marciano fight pix do not appear 
to be helping much as an added 
feature on the bill. 

Estimates for This Week 

Astor (City Inv.) (,300; 70-$1.50) 
— “Miracle of Our Lady of Fatima” 
(WB) (6th wk). Current session 
ending today (Wed.)- continues 
okay with around $12,000 in sight. 
Last week, * good $13,500. Stays. 

Capitol (Loew’s) (4,820; 70-$1.50) 
—“Quiet Man” (Rep) (6th wk). 
Still displaying great stamina with 
current week ending today (Wed.) 
holding at big $27,000 or better. 
Fifth week was terrific $40,000. 
Continues. 

Criterion (Moss) (1,700; 50-$1.80) 
—“One Minute To Zero” (RKO) 
(2d wk). Still strong with about 
$16,000 probable. First round hit 
big $27,000. 

Fine Arts (Davis) (468; 90-$1.80) 
— “Stranger in Between” (U) (7th 
wk). Sixth . round ended Monday 
(29) Held' af " $4,200. * after okay 
$5,200 for fifth week. 

. Globe (Brandt) (1,500; 50-$1.50) 
—“You For Me” (M-G). Initial 
frame ended last night (Tues.) was 
mild $5,000 or close. Stays only 
two extra days, with “Lure of 
Wilderness” (20th) opening Fri- 
day (3). 

Mayfair (Brandt) (1,736; 50- 

$1.50)— “High Noon” (UA) (10th 
wk). This keeps pefking along. 
Looks to reach big $14,000 in week 
ending today (Wed.). Ninth week 
was solid $15,000. 

Normandie (Normandie Thea- 
tres). (592; 95-$l. 80)— “Magic Box” 
(Mayer) (2d wk). Initial round 
ended Monday 129? hit solid $10,- 
400; and looks in for longrun. In 
ahead, “Encore” (Par) (25th wk- 
6 days), oke $4,500 to wind up a 
highly successful longrun. 

Palace (RKO> (1,700; 75-$1.40>— 
“Night Without Sleep” (20th) plus 
8 acts of vaude and fight pix. 
Heading for nice $22,000 or less. 
Last week, “Holiday For Sinners” 
(M-G) with vaude, good $21,000 
but below hopes. 

Paramount (Par) (3,664; 80- 

$1.80) — “Eton of Paleface” (Par) 


with Louis Prima orch, De Marco 
Sisters, Keely Smith, Los Gatos 
onstage. Opens today (Wed.), with 
Bob Hope, star of film, scheduled 
to make personals opening day. 
Last week, “Big Jim McLain” (WB) 
with Mills Bros., Jean Carroll, 
Danny Lewis, Tommy Reynolds 
orch, others onstage (2d wk), held 
at okay $53,000 after fine $70,000 
opening week. 

Park Avenue (Reade) (583; 90- 
$1.50) — “Mons. Fabre” (Indie) 
(4th wk). Third stanza ehded Sat- 
urday (27) was trim $6,000 after 
fine $7,000 for second week, 

Paris (Indie) (568; $1.25-$1.80)— 
“Savage Triangle” (Indie). Opened 
Monday (29) in fine fashion. In 
ahead, “Casque d’Or (piscina) 
(6th wlc>, was okay $5,500 after 
$5,800 for fifth week. 

Radio City Music Hall (Rocke- 
fellers) (5,945; 80-$2.40) — “Because 
You’re Mine” (M-G) with stage- 
show. Initial session ending today 
(Wed.) likely will hit big $145,000 
but not up to recent Hall first- 
week gait. Holding, naturally. 
Last week, “Ivanhoe” (M-G) and 
stageshow (8th wk), nice $123,500, 
over hopes, to wind up a terrific 
eight-week run, biggest initial 
eight weeks in history of Hall. 

Rivoli (UAT) (2,092; 70-$2) — 
“Snows of Kilimanjaro” (20th) 
(2d wk). Holding at smash $61,000 
or near. First week was terrific 
$78,500, one of biggest opening 
weeks over at the Riv, but still 
slightly below expectancy. 

Roxy (Nat’l) (5,886; 80-$2.20)— 
“Somebody Loves Me” (Par) plus 
Mary Small, A1 Bernie, iceshow 
onstage (2d wk). Initial stanza 
ended last night (Tues.) climbed to 
big $90,000, with the Friars Club 
honoring Benny Fields and Blos- 
som Seeley (pic is based on their 
lives), and including personals by 
Milton Berle, George Jessel, Joe 
E. Lewis, Corinne Calvet, others, 
helping give bill a terrific open- 
ing. Last week, “Monkey Business” 
(20th) with Kyle MacDonnell, 
George De Witt, Iceshow onstage 
(34> wk-5 days), okay $50,000 to 
round out nice run. 

State (Loew’s) (3,450; 55-$1.50)— 
“Merry Widow” (M-G) (2d wk). 
First week ended last night (Tues.) 
hit smash $41,000. In ahead, “Sud- 
den Fear” (RKO) (7th wk-6 days), 
fine $13,000, to round out a great 
run, one of longest here in some 
time. 

Sutton (R&B) (561; 90-$1.50) — 
“Man in White Suit” (U) (27th wk). 
Continues steady with $5,400 in 
26th week ended Monday (29), 
after $6,200 for 25th round. “Four 
Poster” (Col) opens Oct. 15, play- 
ing day-date with Victoria. 

Trans-Lux 60th St, (T-L) (453; 
90-$1.50) — “Lady Vanishes” (UA) 
(9th wk). Continues at fancy $4,- 
500 after good $4,000 for eighth 
round. Due to stay on. “Lime- 
light” (UA) is scheduled to open 
Oct. 23, on two-a-day, reserved 
seat policy, playing day-date with 
A stor 

Trans-Lux 52d St. (T-L) (540; 
90-$1.50)— "Ivory Hunter” (U) (7th 
wk). Sixth frame ended Sunday 
(28) was nice $4,800 after big $6,- 
000 for fifth week. 

Victoria (City Inv.) (1,030; 70- 
$1.80) — “Affair in Trinidad’ (Col) 
(10th wk). Ninth stanza ended last 
night (Tues.) was fine $10,000 or 
close. Eighth week was sturdy 
$12,000. “Four Poster’ (Col) is 
due in Oct. 15. 

‘Fatima’ Smash $24,000, 
Del; ‘Quiet’ Lusty 17G, 
‘For You’ Slow 13G, 2d 

Detroit, Sept. 30. 

“Miracle of Our Lady of Fatima” 
is shaping socko at the Madison to 
pace the field this week. “Quiet 
Man” also looks big at the United 
Artists. “Just for You” is slow in 
second round at the Michigan. 
“What Price Glory” plus Marciano- 
Walcott fight pictures is mild at 
the Fox. “Caribbean” looks fairish 
at the Palms. “Devil Makes Three” 
shapes- lukewa r m a tr1rhe~Adams, 
Estimates for This Week 

Fox (Fox-Detroit) (5,000; 70-95) 
— “What Price Glory” (20th) and 
fight pix. Mild $22,000, Last week. 
“Leave to Heaven” (20th) and 
Laura” (20th) (reissues), modest 
$6,000 in 3 days, “Wait Til Sun 
Shines Nellie” (20th) plus Johnnie 
Ray heading stageshow, sock $39,- 
800 in 3 days, way over expectancy. 

Michigan (United Detroit) (4,000; 
70-95) — “Just For You” (Par) and 

(Continued on page 24) 

















FRANK CONNIFF 
N. Y. Journal - American 



BIN KAIMfNSO" 

ORIVt 



























12 BCTBBNAHO lVAt 


Exhib Demands for Report on Where 
Eady Coin Goes Threatens Brit. Prod. 


London, Sept. 30. 

The unanswered question of 
where does; the Eady money go?, 
which exhibitors have been pressing 
for months, has been leading to a 
rift so serious it may endanger the 
future of this -scheme which helps 
British production. 

The reluctance by the fund di- 
rectorate, mainly reported to come 
from production interests, to reveal 
who was bencfitting, and by how 
much, from the regular dividends 
paid out was one of the major fac- 
tors leading to lack of co-operation 
from theatre operators. By last 
month, nearly 300 exhibs had con- 
tracted-out of the Eady setup and 
the number was seen to be growing 
at an alarming rate. 

The crisis was reached when two 
prominent theatre owners, Sir Al- 
bert Clavering and former Cinema- 
tograph Exhibitors Assn, prexy 
Arthur B. Watts intimated that 
they too would cancel-out unless 
the information was forthcoming. 

An emergency meeting of the 
four trade assd'cia ttons'"was called 
last Wednesday (24) in a last- 
minute attempt to reconcile the 
opposing viewpoirfts of producers 
and exhibitors. At this- meeting, 
apparently, production reps bowed 
to the overwhelming exhibitor de- 
mand and agreed to support their 
for months, has been leading to a 
claim for detailed information. 

If harmony can be established on 
this issue of principle, it is likely 
that a new all-industry agreement 
will follow, insuring the prolonga- 
tion of the Eady scheme. The deci- 
sion is now being made a matter of 
urgency by the production industry, 
and during recent weeks there 
have been major '’pronouncements 
by studio toppers insisting that an 
early decision is necessary (to in- 
sure the future of continued British 
film making. J. Arthur Rank’s 
statement in his annual report and 
followed a week later by a similar 
expression of opinion by Harold C. 
Drayton, the * British Lion topper. 
Although- Rank was sijent on the 
question, the lattpr did reveal that 
his corporation’s share of the Eady 
coin would be materially in excess 
of the estimate of $1‘,400,000 given 
last year? 

In a recent breakdown of the 
division of Eady money among the 
three majors - * Variety last month 
estimated that the Rank group of 
producers had netted around $2,- 
800,000, the British Lion group ^in- 
cluding the Romulus product) had 
earned some $2,500,000 and the 
Associated British-Pathe outfit over 
$ 1 , 100 , 000 . 


3 British Major Chains 
Live Up to lst-Feature 
Rules in 4th jQuoia Yr. 

London, Sept. 30. 

With the end of the fourth Quota 
year today (Tucs.), an analysis 
:hows that the three major cir- 
cuits have each fulfilled their first 
feature commitments. > The Asso- 
ciated British group topped the 
• ist with 20 British films screened 
in the year. Gaumont came sec- 
ond with 18 and Odeon third with 
16. To "fulfill the 30% commit- 
ment, -.each . 4 ?roup..jvas_ obliged to 
give 15V6 weeks of screen time to 
British product. 

The majority of West End first- 
runs were also up on their obliga- 
tions although a few have default- 
ed. Of the No. 1 theatres con- 
trolled by the J. Arthur Rank 
group, the Odeon, Leicester 
Square, and the Gaumont, Hay- 
market, over/filled their quotas. 
The Odeon, Marble Arch and the 
Leicester Square Theatre were 
slightly down. 

Paramount has two first-runs, of 
which one, the Plaza, devoted more 
playing tinie to' British pix than 
egally required but the other, the 
--Carlton, . was., .slightly , below re- 
quirements. The London Pavilion 
iUA) which, because of relief, 
needed only nine weeks British 
playing time, fulfilled only a third 
of its quota. 

The Warner Theatre came out 
on the right side and the Rialto, 
which was only obliged to give 
five weeks screen time, topped the 
list with a record 28 weeks. Metro’s 
Empire finished the year with 11 
weeks to its credit, all of which 
were given in the second half of 
the year. 


Dublin Needs Niteries j 
To Hypo Tourist Trade : 

Dublin,. Sept. 23. [ 

Despite its great yen for tourist 
coin, Ireland is still coy about en- 
tering the nitery biz. But Dublin 
bonifaccs are beginning to con- 
verse about brighter bistros for* 
next season which is slated to open 
early in April with the Ireland at 
Home Festival. 

Only a few spots cater to the 
after-theatre patron, with most 
bistros shuttering around 10:30 
p.m. The stranger in town can get 
a few lonely drinks in his hotel — 
that is all. Several of out-of-city 
spots have been raised to a high 
level, but legally they can offer no 
entertainment or floor show. The 
sole attraction is the alcoholic bev- 
erage. 

Police would like to trim these 
operations to cut down drunken 
driving.. charges, while the To uri st 
Board would like to find some way' 
of pleasing overseas visitors who 
do not want to retire at 11 p.m. 
Niteries are the obvious solution, 
but previous'experiments have not 
hit jackpot possibly because there 
was not enough coin to bridge the 
“catch-on”, period. 

British Lion’s Loss Of 
$415,000 Blamed Mainly 
On High Cost of Prod. 

London, Sept. 30. 

Having finished the year with a 
net loss of $415,000, British Lion 
Film Corp. is now $5,800,000 in the 
red. This is disclosed in the profit 
and loss account fot the year ended 
last Match 31. In that period, the 
company made a gross profit of 
$890,000. 

In a review by the company’s 
prexy, Harold C. Drayton, Jit is 
shown that in the. last three. years 
interest payments on loans for pro- 
duction have cost approximately 
$1,960,000. In the same three years, 
their films had grossed more than 
$35,000, 000 • at the boxoffice, of 
whicl) a little less than $14, 000, 00$ 
went to the treasury in entertain^ 
ments tax. After allowing for the 
exhibitors share of around $12,- 
700,000, the balance was left to 
meet distribution, advertising and 
printing charges * and also reim- 
burse production costs. 

Referring to, the loan from the 
National Film Finance Corp., Dray- 
ton- reports that to date it has paid 
nearly $1,060,000 in interest. He 
poipts out that the advanpe has 
enabled the corporation to produce 
films which have yielded more than 
the original loan capital in enter- 
tainments- tax and has provided 
employment which in turn yielded, 
income tax on wages and salaries. 
On balance, he* estimates that the 
government has not done badly 
out of the business because in the 
same period it has earned foreign 
currencies, particularly dollars, re- 
quired to help in meeting the coun- 
try’s adverse balance of trade. 
Sinfce 1949, B-L has earned over 
$3,000,000, apart from dollar con- 
.tributions, toward production %>sts. 
U. 'S.‘ ' dl'stnbutr6h " arrangements 
had been made for practically every 
single film produced by the com- 
pany. 


Mex Dance Marathon 
Halted After 29 Days 

Mexico City, Sept. 23. 

Current bonanza of local show 
biz, the international marathon 
dance at the Teatro Iris, was 
stopped- by -nhe city government 
after 29 days. Officialdom took ac- 
tion because it claimed numerous 
complaints were made by the pub- 
lic and the press. City inspectors 
swooped down on - ine MiOVv one - 
morning and called the contest off. 
There was no trouble when the 
gendarmes appeared. 

Surviving hoofers (five) each got ; 
$400 for 696 hours work. That was 
because Jorge Martinez Isaac, the 
promoter, had guaranteed to pay 
the winners a total of $5,780, when 
the show wais stopped, the prize 
money was divided among the 10 
survivors, less taxes. Francisco 
Sierra agreed never to rent out 
the Iris, for such spectacles. 


P$3i TSfr 


'VARIETY'!* LONDON OFFICE 
8 Sf. Martin'* Flic*, Trafalgar Square 


British' to Show Color 

TV at Berlin’s Pair 

Berlin, Sept. 23. 

One of the highlights of the 
forthcoming Berlin Industrial Fair 
will be an exhibition of British col- 
or TV. There will be a series of 
daily programs for the public, 
these originating in a special studio 
erected pea- the British .Pavilion 
located- at t^ie Industrial Fair. 

There also will be a British 
Broadcasting Corp. display. 


Majors Get Only 
59 Pix in Japan 

Tokyo, Sept. 20. 

The Japanese Finance Ministry 
today announced the division of 
import film quotas for U. S. dis- 
tributors for second half of the 
.cur refit yeftr. Major • companies 
were allotted 59 films while the 
independent distributors got 15. 
Final decision of the ministry fol- 
lowed several weeks of huddles be- 
tween majors and indies who 
failed to reach an agreeable divi- 
sion. Major Companies had been 
insisting on 63 films for them- 
selves and 'IT" for' ^ tffe~iTidie5rwhiie 
the indies wanted 18 against 56 
for majors. 

Although ministry officials gave 
no explanation of their decision 
in £ note sent the parties con- 
cerned, it is believed they reached 
their final dccisipn by studying 
the yearly figures on production 
of majors and indies and their 
distribution receipts at home 
and in Japan. This proportion 
was calculated at eight to two. 
On this basis, division of the full 
year quota of 152 U. S. pix worked 
out at 122 to 30, with 65 and 15 
were allocated for the first half 
year, leaving the last half at 59 
for majors and 15 for indies. 

Both parties voiced opposition 
to this plan but had disagreed 
principally on what constitutes a 
half fiscal year. Majors stood 
firm for January to June, 1952, 
as the period upon which the new 
allocation should be made. The 
indies contended that the preced- 
ing Japanese fiscal year (April, 
1951 to March, this year) should 
be the determining period. 

Globetrotters Big Hit 
In Tokyo; Draw 23,000 

Tokyo, Sept. 23. 

Abe Saperstcin’s Harlem Globe- 
trotters opened a tour of Japan 
last week, at Tokyo’s Korakuen 
Stadium. Their basketball form 
drew 23,000 astounded and amused 
Japanese and foreign fans, headed 
by U. S. Ambassador Robert Mur- 
phy. 

The Trotters will play their 
traveling mates, the N. Y. Celtics, 
in two more games here before hit- 
ting the road. They also are set to 
play once in Yokohama, once in 
Nagoya, four times in Osaka and 
return to Tokyo for two more dates 
before moving on to Guam and 
Honolulu. They return to the U. S. 
sometime in October. 


feegit Shows Abroad 

LONDON 

(Week ending Sept. 27) 

(Figures indicate opening date) 
"Affairs of State," Cambridge (8-21). 
"Bells St. Martin," St. Mart, (0-29). 

"Bet Your Life," Hippodrome (2-18). 
"Call Me Madam," Coliseum (3-15). 
"Deep Blue Sea," Duchess (3-6), 

"Dial M Murder,". West. (6-19), 
"Excitement," Casino (3-8). 

"Gay Dog," Piccadilly (G-12). 

"GloJje Revue*" Globo (7-10). 

"Hanging Judge," New (0-23). 

"Happy 'Marriage," Duke York (8-7). 
"Innocents," Majesty's <7-3). 

"Little Hut," Lyric (8-23-50). 

"London Laughs," Adclphi (4-12). 
"Love. of Colonels," W,vn. (5-23-51). 
"Love from Judy," Savllle (9-25). 

"Moet Callahan," Garrick (3-27). 
"Millionairess," New ((,-30) 

"Paris to Piccadilly," Pr. Wales (4-15), 
"Quadrille," Phoenix (9-12). 

"Relative Value," Savoy (11-23-51). 
"Reluctant Heroes," White. (9-12-50). 
V'Romeo A Juliet," Old Vic (9-15). 

"Ranch In Rockies," Empress (6-5). 
"Seagulls Sorrento," Apollo (6-14-50). 
"Second Threshold," Vaude. (9-24). 
"South Pacific," Drury Lane (11-1-51). 
"Sweet Madness," Vaudeville (5-21). 
"Troublemakers*" Strand (fi- 16). 

"Under Sycamore,* - St. James (4-23). 
"Water of Moon," Haymarkct (4-19-51). 
"Winter Journey," St. James’s (4-3). 
"Wishing Well," Comedy (0-4). 

Emlyn Williams, Ambass. (9-3). 

1 ?Woman of Twilight," Vic. Pal. (6-18). 
ZIP Goes a Million," Palace (10-20-51), 
"Young EHx.," Criterion (4-2). 

AUSTRALIA 

(Week ending Sept. 19) 

"Kiss Me, Kate," Royal, Sydney. 

"Night at Follies," Royal, Rrlsbane. 
"Folles Bergere," Tivoli, Sydney. 
"Seagulls Over Sorrento," Comedy, Mel. 
"Tommy Trlnder Show," Tivoli, Mel. 
"Black Chiffon," Princess Mel. 

"Larger Than Life," Royal, Adel. 
"South Pacific," Majesty, Mel. 


CaDedDepression Year, Art;. Cinemas, 
Legit in 1st Four Mos. lop ’51 Biz 


H’wood’s Sloane Finds Nip 
Pix-Making Big Headache 

Tokyo, Sept. 23. 

Hollywood director Paul H. 
Sloane has learned that all is not 
smooth sailing in the field of joint 
Japanese-U. S. film production, di- 
recting “Forever My Love” with 
Daiei Studio and using American 
and native actors, he has been at 
loggerheads for months with his 
Japanese colleagues. Irked over a 
two-month delay in bringing the 
'film in, the studio filed a strong 
protest with Sloane and said they 
would finish the pic with Japanese 
directors unless he speeded work. 

“Forever My Love,” starring Cris 
Drake and cover girl Mitsuko Ki- 
mura, went before cameras July 7 
and was set for completion by the 
end of that month. Sloane post- 
poned the finish to end of August 
and later to Sept. 7. Daiei now has 
announced it will 3 be released in 
October, but Sloane is still listed as 
director. 


Massey’s ‘Judge’ Given 
Even Chance in London; 
‘Threshold’ Rated Fair 

London, Sept. 30. 

Raymond Massey’s first play 
“Hanging Judge” had its London 
debut at the New Theatre last week 
(23). It is based on a book by 
Bruce Hamilton and presented by 
Michael Powell and Walter P. 
Chrysler, Jr. Godfrey Tearle stars 
as a ruthless criminal court judge 
framed on a murder charge by 
his own son. (Detailed review on 
page 122.) 

It is .a splendid vehicle for the 
veteran actor and his personal 
popularity will have much to do 
with the play’s even chance of 
prosperity. A good supporting 
cast and excellent direction by 
Michael Powell contribute full 
share to the play’s merit and just 
lifts it out of the old meller stand- 
ard. It might be better if adopted 


for the screen. 

Second Threshold,” the latest j grossed $40,276 in the first two 


Buenos Aires, Sept. 23. 

Uncertainty still hangs over 
possible changes in the cabinet 
here as a result of Mrs. Peron’s 
death, it being considered a strug- 
gle between the Eivitistas and 
Peronistas. The hassle last week 
between Press . and Information 
Minister Raul Apoid and Entertain- 
ment Board chief Eduardo Oliveira 
appears to have been smoothed 
out, with the former reportedly 
headed for an ambassadorial job. 

Although rated a depression 
year, both attendance and grosses 
at film houses and legit theatres 
increased in the first four months 
this year compared with 1951, ac- 
cording to figures of the Ministry 
of Technical Affairs. Film grosses 
increased $1,000,000 over last year 
in this four-montl\, period while 
legit grosses wc*re up $100,000, In 
contrast, attendance at football 
(soccer) games and prizefights 
slGmped. Radio manufacturers re- 
port a heavy dip in set sales where- 
as disk sales are holding up well, 
with Radio Corp. of America-Vic- 
tor selling over 500,000 each 
month.- 

Indicating- that the management 
of the Opera Theatre has confi- 
dence in future biz it has booked 
Josephine Baker for a limited en- 
gagement starting early next 
month. 

Film grosses have been satisfac- 
tory but not .sensational in recent 
weeks. The French film, “Manon” 
(DIFA) has been leader, with 
$132,583 in 14 weeks day-dating at 
the Radar, Capitol and Biarritz. 
This is close to the “J<*ki of Arc” 
record this year of $145,256. 
“Joan” has been reissued at the 
Radar and Capitol. RKO.is also 
doing nifty biz with **Our Very 
Own” day-dating at the Trocadero, 
Libertador and Palacio del Cine. 

“All About Eve” (20th) grossed 
an excellent $88,354 in 6 weeks 
at the Broadway and Luxor plus 
one opening week at the Gran Rex. 
“Hamlet,” reissued Aug. ‘ 4 at 
Suipacha Theatre, grossed $83,950 
in 8 weeks, which compares well 
with its original take when first 
released early this year. 

The local pic, “She of Eyes the 
Color of Time,” starring Mirtha 
Legrand and Carlos Thompson, 


importation from.' Broadway, pre- 
sented last Wednesday (24) at the 
Vaudeville Theatre by Jack de 
Leon in association with Marccll 
Heilman, has only fair prospects of 
paying off. Its success will mainly 
depend on the marquee value of 
Clive Brook and Margaret John- 
ston. The former is playing the 
role he filled in the N. Y. produc- 
tion of last year. 

The production received critical 
press reaction which concentrated 
mainly on the unsuitability of the 
theme for West End theatrical 
audiences. 

Emile Littler’s new British musi- 
cal, “Love From Judy,” preemed 
successfully at the Saville last 
Thursday (25) and looks set for a 
healthy run. It is adapted from 
“Daddy Long-Legs” by Eric Ma- 
schwitz and Je*n Webster, with 
music by Hugh Martin. Jean Car- 
son, who stars, was hailed by the 
first-night audience for a perform- 
ance of surprising merit. 


weeks at the Gran Rex, where 
the picture is past its fifth week. 
This is good business, but not sen- 
sational. 

Another local picture, “No 
Other Like Me,” held only three 
weeks at the Opera, grossing $40,- 
276, a low for that theatre, ap- 
parently proving that the Enter- 
tainment Board’s insistence on the 
picture being exhibited at that de- 
luxe theatre was misplaced. 


$70 Top for ‘Limelight’ 

At London Preem, Oct. 16 

London, Sept. 23. 

Charity preem' 1 of Chaplin’s 
“Limplight” has been set for Oct. 
16 at the Odeon, Leicester Square, 
to aid the Royal Society for the 
Blind. The star arrived in London 
this week, and expects to stay two 
or three months. 

Inflated prices are being asked 
for the preem, with a top of $70. 
The scale includes $42 and $28 
ducats with a minimum of $2.80. 
After the preem, the film will stay 
at the theatre for a regular run. 

Rediffusion Taps Dunlop 

London, Sept. 23. 

Appointment of Roy Graham 
Dunlop, a Canadian, to post of 
program director for Overseas 
Rediffusion, Ltd., which operates 
radio stations on five continents, 
has been made here. 

Dunlop will have overall charge 
of program management, and will 
set up headquarters in Bermuda 
in October. 


U.S. Films Dominate Mex 
B.O. But Local Product 
Shows Top Gross Per Pic 

Mexico City, Sept. 30. 

Although U. S. and other foreign 
pix dominate down here, Mexican 
films top imports by far in total 
boxoffice per pic, according to the 
Nacional Financiera, government’s 
fiscal agency which helps finance 
much film production here. Its 
survey of the local film trade 
showed that Mexican productions 
had an average gross of $46,500 
each last year while the intake of 
foreign films averaged only $24,- 
650 per film. 

Last year, Mexican pictures took 
35.7% of the playing time here and 
40.2% of playdates over all of Mex- 
ico, the agency reported. 

The Mexican film trade employs 
23,366 persons, most of them or 
12,000 in the cinegflas. There are 
7,500 in the production field, 1,200 
in distribution and 2,500 ih other 
branches. 

Mexican exports last year were 
down to $805,750 from $810,175 in 
1950, the survey showed. Naming 
the U. S., ‘ Guatemala, Panama, 
Cuba and Columbia as the top for- 
eign markets for Mexican pix, Na- 
cional Financiera admitted that 
Mex films are losing biz in- Spanish- 
speaking countries. Nacional Finan- 
ciera lamenting the drop in film 
output, estimated by the trade not 
to exceed 100 this year, was blamed 
on the necessity of marketing films 
already made and lack of credit to 
make other pix. 


Wednesday, October 1, 1952 


. PICTURES 


13 



PSkiety 




Inside Staff-Pictures 

Although only six states have film censorship statutes, effect of these 
laws spreads beyond the borders of the states, resulting in difficult- 
to-estimate but nevertheless substantial extra costs to the film indus- 
try Another effect, not generally known, is that pix audiences in 
neighboring states are forced to view snipped films because of the 
exchange center setup. 

An exchange, located in a pensor zone, cannot prepare two sets of 

rints on e for the censored area and one for the free section, the 

process being complicated and costly. For example, Boston is the New 
England exchange area. Massachusetts has a Sunday censorship law 
which, in effect,* results in full film censorship since the filmeries can- 
not prepare separate films for Sunday and daily showings. Since Bos- 
ton is the shipping center for many New England areas, a good part 
of the northeast territory receives snipped films as ordered by the 
Bav Slate censor. 

Similarly, Washington, D. C. f is guided by the film censorship laws 
of Maryland and Virginia. Towns in states bordering Kansas, Penn- 
sylvania and Ohio are hit by statutes of those stated. An example of 
how snipping costs are upped is the situation in Toledo, which is 
closer to uncensored Detroit exchange, but is serviced out of Cleve- 
land because of the Ohio censorship statute. 

Films have been so successful in promoting institutional messages .of 
the Oil Industry Information Committee of the American Petroleum 
Institute that the organization is releasing a 25-minute subject next 
month with some of Hollywood's more familiar names in its cast. Titled 
“Crossroads, U.S.A*”,' it was turned out by Columbia Pictures’ sub- 
sidiary. Screen Gems. 

OICC has sponsored close to 10 pix since embarking upon its film 
program in 1948i Subjects were made on contract by such producers 
as Warner Pathe News and Louis De- Rochemont, among others. In 
“Crossroads” the committee stresses “free enterprise” and “free com- 
petition.” This message isn’t forcibly thrown at audiences but never- 
theless exists in the screenplay as scripted by Joseph Moncure March 
and Brown Holmes.. _ Locale for the plot is a service station in a small 
American town. 

Produced and directed by Jules Bricken, the film has Rhys Williams, 
Regis Toomey, Elisabeth Risdon, Darryl Hickman, Ted De Corsia, 
James Bell, Frank Darien and Joseph McGuinn in its cast. Film Coun- 
selors. Inc., of New York, and the committee’s film division, chair- 
manned by P. C. Humphrey, of the Texas Co., supervised production.* 


Distribution of the National Legion of Decency’s latest ratings caused 
a brief flurry of excitement in trade circles last week when the 
Class “C” (Condemned^ classification included 20th-Fox’s “Snows of 
Kilimanjaro.” A check "disclosed that a printer’s error was responsible 
for the confusion since the picture actually had been handed a “B”. 
Legion subsequently sent out a correction. 

placing “Kilimanjaro” in the “B” (Morally Objectionable in Part 
for AID category, the Catholic reviewing organization asserted that the 
Gregory Peck-Susan Hayward starrer contains “suggestive costuming, 
dialog and situations; tends to justify immoral actions.” 


Hollywood producers and studios reportedly will he well represented 
Nov. 16 when the New York News publishes its fourth annual motion 
picture issue in the tabloid’s Sunday Coloroto issue. Special section 
previews many important films due for release through the winter 
months. Supplement is to be printed in four colors. Through 1952 to 
date, incidentally, The News has devoted more than half its four-color 
front covers in the Sunday Rotogravure section to film stars. Besides 
the covers, a number of pictures and stories on inside pages also 
plugged the stars. 


Drive-in theatres are an excellent medium for film ads of an auto- 
motive nature. At least that’s the feeling of*the Ethyl Corp., which 
last week placed another series of “spot movie ads” with the Movie 
Advertising Bureau. Nearly 500 ozoners in 15 states reportedly are 
screening the Ethyl adpix in the peak driving season. Ethyl’s faith in 
the outdoor theatres was also buttressed by a questionnaire the com- 
pany recently sent to drive-in patrons. Some 80% of those replying 
said they remembered the Ethyl films. 


Variety is in receipt of the following note: “I enclose for your 
files and future information concise biographies of myself and wife 
which I regret to state you may have occasion to use as obits in the 
not-too-distant future, as my wife is afflicted with cancer and m£ heart 
is starling to act up.” 

Besides ousting Sam Weller as his personal manager, Mario Lanza 
has severed with MCA; has substituted Martin Gang’s Hollywood law 
firm for Lawrence Beilenson as his personal attorney; and, in his 
squawk against Metro, among other things, he has focused his personal 
spleen against director Curtis Bernhardt. 


•ob- 


Italo 'Salute’ 


Continued from page 5 


* government, administrative and 
creative level. Latter include Dr. 
Renalo Gunlino. IFE general direc- 
tor. who is already here; Nicola De 
Pino, director general of the 
Italian government’s Entertain- 
ment Industry Bureau, and Dr. 
Intel Monaco, president of the 
National Assn, of the Motion Pic- 
ture and Allied Industries of Italy, 
etc - The s.a. dept, will be repre- 
sented by Silvana Mangano, 
Lleonora Rossi-Drago, Marina 
Berti. (’aria del Poggia and Lea 
"adovani. Actor Gino Cervi also 
*3 making the trip, 

directors due here for 
oalute" include Renato Castellani, 
/.ampa and Luciano Emmer. 
u * lb films being shipped from 
Bome include: “Anna,” directed by 
)oito Laltuada, starring Silvana 
Vallone and Gaby 
'•ay and featuring Vittorio Gass- 
an: ‘!' lu ‘ Little World of Don 



Hope,” directed by Ranto Castel- 
lani, starring Maria Fiore and Vin- 
cenzo Musolino; “The Overcoat,” 
directed by Lattuada, starring 
Renato Rascel, Yvonne Sanson, 
Guilio Stival and Antonella Lualctt; 
“Umberto D,” directed by Vittorio 
de Sica, starring Carlo Battisti, 
with Maria Pia Casilio and Lina 
Gennari; “Bellissima,” directed by 
Luchino Visconti, starring Anna 
Magnani, with Tina Apicella, Wal 
ter Chiari, Amadeo Nazzari and 
Silvana Pampanini; “Europe *51,” 
directed by Roberto Rosselini, star- 
ring Ingrid Bergman and Alexan- 
der Knox, with Guilietta Masina 
and Ettore Giannini; “Times Gone 
By,” directed by Alessandro Bla- 
setti, with de Sica, Gina Lollobri- 
gida, Aldo Fabrizi, Pina Renzi, Aldo 
Arnova and Enzio Staiola; “City on 
Trial,” directed by Luigi Zampa, 
starring Silvana Pampanini, Eduar- 
do Cianelli and Amedeo Nazarri* 
and “The Girls of Piazza Di 
Spagna,” directed by Luciano 
Emmer, starring Lucia Bose, Co- 
selta Greco and Liliana Bonfatti. 


HEFTY TREND TO 
RELIGjOS!) FIX 

By WHItNEY WILLIAMS 

Hollywood, Sept. 30. 

The Biblical period, which turned 
out some of the greatest stories the 
world has ever known, continues to 
come to the fore, production-wise, 
as a backdrop for story-telling. 
Certain producers, notably Cecil B. 
DeMille and Darryl F. Zanuck, 
long have realized the potency of 
the period as a canvas against 
which to paint their cinematic mas- 
terpieces. Both these showmen, as 
well as others, continue turning to 
this, period for upcoming efforts. 

Since great research is required 
to prep adequately the start of such 
projects, and the production values 
entailed in reaching back into the 
past, these films in many instances 
will individually ring up costs 
which might cover whc)le groups of 
features. From experience, how- 
ever, it’s been learned that Biblical 
films, such as DeMille’s “Samson 
and Delilah” and Zanuck’s “David 
and Bathsheba,” more than make 
up in b.o. returns from these added 
and astronomical costs. 

Fortressed by the reaction to 
“Bathsheba,” Zanuck, whose studio 
already is about to launch camera 
work on Lloyd C. Douglas’ “The 
Robe,” under the producership of 
Frank Ross, will personally under- 
take for his sole 1953 endeavor the 
picturization of Mika Waltari’s best- 
seller; “The Egyptian.” Film will 
have a setting of Egypt, . Crete, 
Babylon and other points of the 
Holy Land, circa 1,500 B.C. An- 
nounced as Zanuck’s most ambi- 
tious production, it very likely will 
soar into the $4, 000, 000-plus class. 
Ross’ “Robe” now carries a budget 
around $3,000,000. 

DeMille again is borrowing from 
the Bible for his next, “King of 
Kings,” a new version of one of 
his greatest successes, of the same 
tag, made in 1927. He originally 
had planned to do a version of 
“Helen of Troy,” antedating the 
strict Biblical period, but when 
Warners also announced such a 
project, he switched to his present 
plans. Warners is to do “The 
Private Life of Helen of Troy.” De- 
Mille also had contemplated a pro- 
duction based upon the Queen of 
Sheba, but 20tn-Fox has this prop- 
erty on its production agenda. 

William Dieterle also is readying 
“King Saul,” which he’ll produce 
next year as an indie in the Holy 
Land. Director got the idea while 
in Israel earlier this year to film 
backgrounds and action for Colum- 
bia’s “Salome, the Dance of the 
Seven Veils,” Rita Hayworth star- 
rer. Latter film also is an entry 
■in the Biblical category. 

“The Story of Ruth” is a project 
by Herbert Kline, who directed 
“The Fighter,” and will be made in 
Israel and England. “Esther” is an 
upcoming Hedy Lamarr production. 
“Joseph and Potiphar’s Wife” is on 
indie producer William Broidy’s up- 
coming slate, and Louis B. Mayer 
also owns the property. “Joseph 
and His Brethren.” Also, Sam Katz- 
man is propping “Slaves of Baby- 
lon.” 


THE BIBLE 


Deover Drama Critic Cliooses to Eat 
His ‘Nasty’ Words About ‘Movietime 


9 


Murphy, Breen Run 

For SWG Presidency 

Hollywood, Sept. 30. 

Richard Murphy and Richard 
Breen will run agaipst each other 
as candidates for presidency of the 
Screen Writers Guild in thfe annual 
election to he held next month. 

Currently Murphy is first veepee 
and Breen is second veepee, both 
work for 20th-Fox. 


Pix Expo for Dallas 

Dallas, Sept. 30. 

Film industry’s development 
from the nickelodeon days to the 
present will be exhibited to the 
public in the “Motion Picture 
World Exposition” at the 1953 
State Fair of Texas. 

Plans for the project were dis- 
closed this week by R. J. O’Don- 
nell in behalf of the executive 
board of the Texas Council of Mo- 
tion Picture Organizations. 


Denver. 

Editor, Variety : 

The spectacle of witnessing a 
critic capitulate should be one to 
bring joy to the hearts of everyone 
connected with the picture busi- 
ness. I have words to eat, and 
choose to eat them publicly. 

I, too, could be counted among 
those who without any basis except 
supposition have heretofore scorned 
“Movietime U. S. A.” as a weak and 
ineffective program, sort of a pa- 
tronizing pat on the head to movie- 
goers, a public relations mouse 
born after great labor to a mountain 
of an industry. 

After making one of the “Movie- 
time” tours as an observer and a 
reporter, I have to admit that I 
was as wrong as Messrs. Gallup 
and Roper on the second Wednes- 
day in November, 1948. Critics of 
“Movietime” should make one of 
those tours; they may be as wrong 
as I was. 

With a snide smile on my face, I 
accompanied Una Merkle, Chill 
Wills, Barbara Ruick, John Agar 
and Jeanne Cooper through west- 
ern Colorado. Meanwhile, Mervyn 
Leroy, Debra Paget and her mother, 
and John Derek were wheeling 
over the eastern Colorado plains. 

Before taking off, I thought these 
things : 

1. The approach that movie ce- 
lebrities are just like everybody 
else was dead wrong. They should 
be sold on the basis of their differ- 
ence, their mystery, their glamour. 

2. Such a tour couldn’t possibly 
be a success without the top per- 
sonalities of the industry. I ex- 
pected the tour to die in the boon- 
docks without any Rita Hayworths, 
Betty Grables, John Waynes and 
Martins and Lewises. 

3. The folks in Cedaredge, Hotch- 

kiss, Steamboat Springs, Salida and 
Montrose would feel cheated and 
patronized if a group of Hollywood 
folk came wheeling up in a cloud 
of dust iii new Packards driven by 
Marine sergeants to utter 15 min- 
utes of platitudes, scatter a few 
autographs and speed off with* ob- 
vious relief. * 

I had other criticisms, also 
proved wrong, but those were the 
main ones. 

Now I am willing to eat three 
dishes of crow with a side order of 
humble pie. Here’s why: 

1. The way to sell motion picture 
personalities, at least outside the 
big cities, is the folksy approach. 
Democracy is the answer. When 
Barbara Ruick rounded up a grou ■ 
of teen-agers and forgot how ti« . 
she . was by commandeering an 
American Legion hall for an in* 
promptu dance, she sold herself and 
motion pictures in Glenwood 
Springs, CoTo., in a way only a 
young, fresh, teen-age kid with her 
future before her would be able 
to do. 

When Jeanne Cooper bought 
shoes in Grand Junction instead of 
Saks, she displayed the same kind 
of touch. So did Una Merkel eating 
a hamburger with onions and talk- 
ing with the Girl Scout mothers at 
the Delta county fair. So did Chill 
Wills when he fished earnestly and 
unsuccessfully at Gunnison. * 

When they got to these towns, 
they had fans. When they left they 
had friends, not only for themselves 
but for the motion picture industry. 

2. The great, big boxoffice stars 
could not have sold the industry 
and its product as effectively as 
the real, earthy human men and 
women who visited Colorado. 

I know a few of the big ones, 
and I have observed that when 
they don’t get the star treatment 
they get snappish, when they get 
snappish- they are apt to bite all 
the people. They expect time to 
rest. A specie of dust disconcerts 
them and two hours of hot sun- 
shine on a parking lot in front 
of a smalltown theatre broils 
their tempers. Unless a task force 
of handlers travels with them, they 
are lost. 

You’ll notice our visitors were 
divided almost half and half be- 
tween gracious, solid, friendly, 

! undemanding troupers like Una 
| Merkel and ambitious, healthy, 


strong youngsters like Jeanne 
Cooper, with the energy, vim and 
curiosity required and with their 
careers to be made. 

Democratic Stars 
They behaved democratically be- 
cause they arc democratic. They 
were friendly because they felt 
friendly. They didn’t become diffi- 
cult because they were either used 
to being easy to get along with 
or hadn’t learned yet that a star 
has to be demanding as a tribute 
to her own ego. 

Whatever was expected of them 

(Continued on page 23) 


Exhib Sounds Off On 
‘Movietime’ Unit That 
Won Rural Good Will 

Washington, Ind. 
Editor, Variety: 

We have been a reader of ‘the 
Bible’ of Show Business for some 
35 years but seldom have we 
had the urge to take time out to 
comment on anything we had read. 
After reading the article which 
quoted Forrest Tucker in your 
Sept. 24 issue, we felt that we must 
sound off. 

Now, we were one of the for- 
tunate theatre managers in south- 
western Indiana to have the pleas- 
ure and privilege of having Forrest 
Tucker, Bill Shirley, Tony Romano, 
Mari Blanchard and Gene Evans 
visit our town on the recent 
“Movietime” tours. Trueman Rem- 
busch took time off from his mul- 
tiple duties as president of the Al- 
lied Theatre Owners of Indiana to 
shepherd the movie ambassadors of 
good, will around this part of the 
state. “Ambassadors Of Good Will” 
for the industry of ours is just ex- 
actly what they were in our book. 
For in the two hours they spent in 
our town they did a bigger and bet- 
ter public relations job than we or 
anyone else have or could have 
done in years. 

First of all, this group m.c.d by 
Tucker was the most gracious and 
friendly of any group of movie per- 
sonalities we have ever seen or 
met. There was not one discordant 
note from any of them, although 
they worked and were rushed 
around every second of the time 
here. AsTucker pointed out in his 
article, he had a show. It was well 
organized, well played and never 
have we seen Hollywood stars or 
Personalities give so much enter- 
tainment for free in or out of a 
theatre. We cannot possibly tell 
. ou how much this show and this 
group of movie people were loved 
by our citizens, during the hour 
they stood in the mid-day sun and 
relished the show from beginning 
to end, and then roared for more. 

Then as if that wasn’t enough, 
Tucker himself took his place be- 
hind the speakers stand at Rotary 
Club, before some 75 representa- 
tive businessmen of our commu- 
nity, and gave them a straight- 
from--tKe-shoulder, heart-to-heart 
talk about Hollywood. He pulled 
no punches, he gave no alibis, but 
rather with honesty, sincerity and 
good common horse sense told 
them of the good the movies have 
done, just exactly why he and 
other groups were making these 
tours. And he made them believe 
it and like it. 

They are still talking about the 
visit of Forrest Tucker, Mari Blan- 
chard, Tony Romano, Bill Shirley 
and Gene Evans in our town, and 
will be for a long time to come. 

This is the kind of stuff that will « 
put the picture industry back on 
top where it belongs. a Hollywood 
would do well to let such men as 
Tucker go out and do more of this 
kind of work. For here is public 
relations at its very best, certainly 
grassroots public relations, and, 
after all, we in the hinterlands, or 
stix if you prefer, have as much at 
stake as anyone, and Hollywood 
has as much to gain here as else- 
where. 

A. J, Kalberer , 

City Manager, 
Switow’s Theatres. 



LOUIS SHURR 
AL MELNICK 

Personal Representation & Motion Pictures 


LEW & LES! 

European 


Beverly Hills, California 




Wednesday, October. 1, 1952 


py&zmff 


reaking success 


Stockholm, Bournemouth 
dee, Glasgow, Edinburgh 


7 


OME BACK! 


f GRADE LTD 

Presentatives 

don 


CHARLES V. YATES 

Personal Appearances 

New York 





Map Tour of Stix By Producers 

To Biuld Goodwill for B.O. 


Move is underway to have the 4 
135 members of the Screen Pro- 
ducers’ Guild take to the hinter- 
lands on goodwill tours for Holly- 
wood and its films. Film-maker 
Jerry Wald, who just wound up a 
whirlwind swing or Texas*, and 
Robert J. O’Donnell, v.p. of the 
Texas Interstate chain, are pushing 
the idea and likely will approach 
the producers via the Council of 
Motion Picture Organizations. 

Aim is to have me producers get 
from behind Hollywood’s “cellu- 
loid curtain” to the public for some 
accurate pulse-taking. Wald feels 
there’s a “healthy curiosity” about 
Hollywood, and the producers are 
well equipped to- answer the pub- 
lic’s questions. He's plenty high on 
the ided as a result of his Texas 
results. 

On his Texas visits Wald en- 
countered queries on Red-tainted 
pix. His stock answer: "Did you 
ever see a Hollywood film with 
Communism in it”? As for the 
commerce end of pix, the film- 
maker points up that Sears Roe- 
buck in Rio de Janeiro has special 

-reps in ..the states to. spot new 

wearing apparel, household items 
and the. like in films and see to it 
that the> Rio branch is supplied 
with them ahead of the South 
American release of the pix in- 
volved. 

Wald and Milton Pickman, busi- 
ness head of Wald-Krasna Produc- 
tions, covered 5,000 miles in six 
days in their Texas whistle-stop- 
ping. They spoke to exhibs in 25 
different areas, had 15 interviews 
with newsmen and made numerous 
radio and TV appearances. While 
upbeating Hollywood in general, 
•’The Lusty Men,” Wald’s latest 
film for RKO release, also was 
spotlighted. Also as part of the 
.tour, straight talks were given at 
various Texas universities and at 
the San Antonio Lions Club. 

Wald and Pickman are slated to 
cover the Boston area on a similar 
junket beginning Oct. 15. 


HEFTY MDSE. UEUPS 
FOR ‘ANDERSEN’ PIC 

Giving an unusually heavy play 
to the merchandising approach, 
Samuel Goldwyn’s New York office 
and RKO, as the distrib, so far 

have arranged tieups with 40 
manufacturers of clothing and ac- 
cessories, fabrics and toys - for 
“Hans Christian Andersen.” Also, 
Macy’s and other members of the 
Associated Merchandising Corp., 
which includes leading department 
stores across the country, will use 
“Andersen” as the theme in Christ- 
mas displays. 

Other promotions are being lined 
up in .the music and book publish- 
ing fields. Also, via a tie-in with a 
national tobacco outfit, “Andersen” 
will be plugged in cigaret advertis- 
ing across the country. 


Censorship Seals 


Par’s ‘Jacks’, ‘Paleface’ 
Sold Away From UPT 
In Mpls^on Bidding 

Minneapolis, Sept. 30. 

Illustrating anew how the con- 
sent decree has changed the clear- 
ance pattern, an unusual develop- 
ment here finds Paramount’s cur- 
rent top boxoffice pictures, “Jump- 
ing Jacks” and “Son of Paleface,” 
getting away on competitive bids 
from United Paramount Theatres’ 
leading local neighborhood house, 
the- Uptown, to competing inde- 
pendent theatres for its first area 
nabe-suburban run in the 1 28-day 
slot. 

Inasmuch as lt’s contrary to the 
circuit’s policy to play pictures at 
the Uptown day-and-date with or 
after the independent theatres in 
question, the Uptown will pass up 
both smashes. 

The Edina, a Ben Friedman su- 
burban theatre, bid competitively 
against the Uptown for “Jumping 
Jacks” and won out. While the 
Edina currently is offering the 
Martin-Lewis hit, the Uptown, 
•Which has regular 28-day availa- 
bility as compared to the Edina's 
35, Is “'coxmterhig with -a- “twin -bill 
of oldies, “The Rains Came” and 
“Leave Her to Heaven,” the the- 
atre’s first filing at double-featur- 
ing. The 28-day slot is the earli- 
est here after the downtown first- 
run. 

“Jumping Jacks” was sold away 
from the Uptown to the St. Louis 
Park, a Harold Field-Harold Kap- 
lan house, whose regular slot is 35 
days. Metro zoned the city for the 
neighborhood-suburban release of 
“Quo Vadis” and on competitive 
bids it was sold away from the Up- 
town to the St. Louis - Park • and 
Terrace. 

All three aforementioned pic 
tures had their downtown first-runs 
here at UPT, but Paramount’s 
Martin & Lewis “At War With 
the Army” and its initial reg 
ular admission run of “Samson 
and Delilah” were sold away from 
the big chain’s loop houses to Ben- 
nie Berger’s independent Gopher. 

Because of distributor’s refusal 
to put the Edina in the regular 28- 
day slot along with the Uptown 
and independent Hopkins, it is su- 
ing the major film companies and 
UPT for $1:900,000 damages. 


Continued from page 7 

addition to editorial support against 
Government actions. Many news- 
papers have stepped up coverage 
of film news. Others have issued 
special pix sections. Some have 
launched promotional campaigns 
urging their readers “to get out of 
their living rooms and go to a 

movie.” N. Y. Mirror, for example, 
runs a daily box far . up in the 
general , news section calling atten- 
tion to the pleasures of film-going. 

Another aspect of the press’ new 
attitude is the trend to grant local 
film theatres the same advertising 
rates as local department stores. 
This campaign, launched many 
years ago, is seeing more and more 
papers equalizing their rates 

Press’ new attitude has also ex- 
tended to national mags. Collier's 
last week, for example, came out 
with a full-page editorial rapping 
the Government’s 16m suit. In ad- 
dition, many mags have been on 
the prowl for pro-industry stories. 

Some of the changes brought 
about have been due to. the ’work 
of the Council of Motion Picture 
Organizations, the Motion Picture 
As$p. of America, the Motion Pic- 
ture Industry Council and local 
exhibs who have carried the ball to 
their local editors. COMPO, MPAA 
and MPIC have been instrumenta 
in correcting inaccuracies about 
Hollywood and in obtaining correc- 
tions of raps based on misleading 
information ' or lack of pertfnefit 
facts. 


Seek to Kayo Ohio Law 

Columbus, Sept. 30. 

The Ohio Censor Board's rejec- 
tion of Superior Films Hollywood 
remake of the old German .film 
“M,” the second rejection in 18 
months, has touched off a renewed 
effort by the firm’s attorneys here 
to knock out the state’s screen cen- 
sorship law. 

The board originally rejected 
“M*’ on April 23 t 1951, because the 
film was “permeated with crime 
and depicted a juvenile in complete 
perversion ""-Superior; after cutting! 
the film and receiving a clean bill 
of health from all censors except 
those in Atlanta, resubmitted the 
film to Ohio’s board, but Clyde M. 
Hissong, state education director 
and censor chief, refused to review 
it again. Whereupon, Superior 
brought a mandamus action against 
the board. 

Ohio’s attorney general ruled 
that Hissong’s position was Inde- 
fensible and the board would have 
to review the cut version of “M.” 
This they did and rejected it Jn toto 
on Sept. 16.. Last Thursday (25), 
the firm of Wright, Harlor, Pur- 
plus,, Morris & Arnold, acting for 
Superior, filed a petition in Ohio 
Supreme Court asking for a review 
of the .order and basing their case 
on two points. 

1. That the Ohio censorship stat- 
ute is unconstitutional both in the 
state and in the U. S. since it is an 
abridgement of free speech and 
press. 

2, If the statute Is valid, then the 
censor boat'd has acted arbitrarily 
and abused its discretion in rejeet- 
i Ing the pic. 


PSsilEff 

Md. Censor Stresses 
Need to Restrict 
Foreign Producers 

Editor, Variety: 

Baltimore. 

Our statement to the Governor 
of Maryland that certain Holly- 
wood companies have been, deviat- 
ing * from their own production 
code does not end there, as 
Variety’s recent article does. On 
the contrary, we laid particular 
emphasig on the productions of 
many foreign and .domestic pro- 
ducers, who, never having been 
signatory parlies to the Hollywdod 
code, have been, and still are, free 
to turn out pictures that haye time 
and again crossed the border line 
of decency and morality. These 
pictures are completely beyond the 
censoring powers and control of 
Joseph I. Breen’s department, and 
the bypassing of them when the 
public is told that the industry has 
its own set of regulations to make 
pictures clean and wholesome is 
a matter which the citizens, of this 
state are gradually catching on to. 
Both of these situations have been 
frequently dwelt upon in our re- 
ports and in other public state- 
ments, and we did not hold them 
in abeyance until the U.S. Supreme 
Court decided “The Miracle” and 
Pinky” cases. 

It is well known to the trade that 
certain Hollywood producers, no- 
tably -Samuel- Goldwyn-^and -David 
O. Selznick, are on record as ad- 
vocating the adoption of a new 
production code— one which Gold- v 
wyn has gone so far as to say will' 
enable the industry to get away 
from producing “pollyanna and 
fairy-tale pictures,” One v wonders 
just what Goldwyn has in mind 
putting on the screen in the light 
of some of the present pictures. 

But aside from our own findings, 
it appears that we are eloquently 
supported by no less an authority 
than the Theatre Owners of Amer- 
ica. At their convention held in 
New York City last September, 
they adopted, a resolution which 
called upon the film industry to 
avoid movies that might be con- 
sidered in bad taste by any part of 
the total audience. The resolution 
stated, in part, that several pic- 
tures in current and recent re- 
leases had broached the barriers of 
the Hollywood Production Code to 
a pdint where public criticism was 
invited and the resolution pro- 
ceeded to recommend that any at- 
tempt by script writers or directors 
to “overstep the word, letter and 
intent” of the code “be instantly 
Curbed.*’ How does this attitude 
on the jiart of the theatre owners 
fit in with Breen's assertion that 
there has been no relaxation of u the 
Standards of good taste and de- 
cency represented by the ‘code? 

Regarding Breen’s assertion that, 
in a recent report by Father Mas 
terson, of the National Legion of 
Decency, he commended the high 
moral standards of American mo- 
tion pictures, we understand that, 
actually, Father’ Masterson in ad- 
dressing a women’s organization 
last month, stated that about 18% 
of the. domestic pictures had been 
found to be morally objectionable, 
or a decrease of 2% over the pic- 
tures so. deemed, previously. On 
Aug. 26, 1949, Father . Masterson 
issued a written report wherein it 
was . stated, that - American-made 
pictures were morally deteriorat- 
ing fo the extent that nearly 20% 
of them were considered objection- 
able. This figure, the report added, 
was the highest since the forma- 
tion of the Legion of Decency in 
1933. 

Now, as to the article’s state- 
ment that our board is threatened 
with abolition because* of an opin- 
ion by our Attorney General, let 
itrbe said that - since* the Supreme 
Court’s decision in “The Miracle” 
Case, he has taken the position that 
we are restricted to the censoring 
of films that are indecent and ob- 
scene. In no manner, has he even 
intimated that we, as a board of 
censors, have no legal right to func- 
tion under the law of this state. On 
the contrary, he has suggested that 
the law be strengthened by the 
enactment of a statute which, in his 
opinion, will insure the state's 
right to keep out pictures that are 
found to be of the indicated char- 
acter. 

Sydney R. Traub, 
Chairman, Md., State Board of 
Motion Picture Censors 


Wednesday, October 1, 1952 

*" SCULLY’S SCRAPBOOK^ 


^ 4h I "H A t M t i t- 4 4 * ^ By Frank Scully 

Hollywood. 

Easily fetched by anything in distress the Samaritan in me simply 
bleeds at the cries of hunger pains emanating from Hollywood. If 
better pictures can be made at less cost it is obvious that cuts will’ 
have to be made all along the line. Merely suggesting that the cuts 
beuin bv cutting off the dead branches at the top isn’t enough. Life 
must be infused into the old redwood, and that means story-value. 

So reluctantly I toss away some more of the stock pile which in 
better times might have been used to send our kids to college. Take 
’em, pals. The plots are all yours. 

Old Title. * New Title 

“Hizzoner Cal Coover” “Has Anybody Seen My^Cal?” 

This is a frank effort to cash in on the drink, sex, smoke and 
skullduggery that goes on in a national political* convention. Cal 
Coover a>rass check manufacturer, who was bom in New England, 
reared in the south, educated in the west ^nd made his dough in Chi- 
cago so much in fact and frou such shady sources that his attorney 
thought it would be wise to siphon off $10,000,000 and set up the 
Coover Foundation For Clean Government. It was set up in honor of 
his first wife, who presumably died from overeating at Monte Carlo 
while Coover was teaching a<J?londe how to play baccarat. 

The Foundation decides to pitch for the Presidential nomination of 
Gen. Mills, a six-star general, figuring he will get smeared so badly in 
the campaign that it would be no trouble at all to toss Coover in as 
a compromise candidate. His backers are assured Coover has now 
married that blonde he has been .running around with since (and be- 
fore) his wife died. 

The day the convention opened, sure enough, a schnook named 
Severance Liveright (a Communist parading as a loyal delegate) 
flooded the convention hall with documentary proof that Ben. Mills 
filched his sixth star from a brigadier he had demoted for being too 
kind" to wives of prisoners-of-war. 

The general’s wife came forth the next day with the explanation that 
she had found the extra star in his pocket and, thinking it was one 
that had worked loose from its mooring, had sewed it on. This ex- 
planation came too late to save Mills, however, and the convention 
made the worst of a bad situation by nominating Cal Coover. 

Coover put on a terrific campaign. Everybady seemingly wore but- 
tons, cut like stars and as big as stop lights. All bore the legend “My 
Pal Cal.” 

But he was running against an incumbent, and the Dopey Voters 
League, with the slogan “We always vote for incumbents,” swept their 
old standby into office. Cal won, four states^Maine, where he was 
born; Georgia, where he was raised; California, where he went to 
college, and Illinois, where he made millions in slot machines, juke- 
boxes and brass checks. 

“The Whining Team” “Too Bad To Win” 

This is a picture for Frank Lovejoy, who as Rogers Hornsby sort 
of stole “The Winning Team” from Ronald Reagan as Grover Cleve- 
land Alexander. It starts with Hornsby taking a bunch of rambling 
wrecks, including Alexander, from the cellar to a World Series. After 
they win the Series they all go out on a bender and don’t get over it 
for the whole of the next season. “You know why we lost?” asks the 
surly Rajah of Alexander. “Cause your wife, who looks to me an awful 
lot like Doris Day, wasn’t in the stands for you to wink at when the 
going got tough. That’s why we lost.” 

That night Bill Veeck, the club prez, fired him. 

For 20 years the Rajah rattled around in the stix and then worked 
himself back in the big leagues as a manager of the St. Louis Browns. 
He landed a three-year contract, worth $120,000 in any lawyer’s 
language. 

Feeling his oats again, the Rajah began riding herd on his coolies 
and pushed them so hard they were in the cellar by the end of spring. 
No Doris ‘Day was in the stands^ to soften his cruel tongue. Players 
whimpered -under his tongue-lashings and all but laid down. 

So the prez of the club called him on the carpet. Tile prez’s name, 
by a terrifying coincidence, was Bill Veeck. Junior, this time. 

“Rajah, I guess you’re through.” 

“Are you guessing or issuing an executive order?” asked Hornsby. 

“I should have learned from my* old man’s experience,” said ttfe 
prez, "when he canned you before.” i 

“If you were that bright,” ripdsted the Rajah, “you would be work- 
ing for a living in a wayside garage. Your second-guessing is gonna 
cost you $100,000.” 

“You won’t settle for less?” 

“Not a. penny,” 

‘Suppose with you off our backs we go ahead now and win the 
pennant?” a^ked the prez. 

“Then F want a bonus.” 

“Hornsby, you’re a hard man. You need the softening hand of * 
woman.” 

“Okay,” said Hornsby, “get me a Warner contract and Doris Day 
and I’ll waive the bonus.” 

They shook hands, and as Hornsby came out of Veeck’s office and 
walked down a tunnel under the grandstand, there was Doris Day to 
receive him. On one side of her stood a Warner talent scout and on 
the other an agent. As Hornsby put his arms around Miss Day the 
agent stuck a contract in his hand like a subpoena. They all laughed 
and left the ballpark for highballs and Hollywood. 


Exhibs Honor Biechele 

Kansas City, Sept. 30. 

The 34th annual convention of 
the Kansas-Missouri Theatre Assn, 
here today (Tues.) and tomorrow 
will be marked by a testimonial 
dinner for R. R. “Dick” Biechele, 
long-time Kansas City exhibitor. 
Tom Edwards, veteran exhibitor, 
will be the speaker at the dinner, 
to be held at the Hotel Presi- 
dent. 


- “Keeih Your Shirt On” - - “-Atomic HL* - 

Hi Hatt, who won his H at Harvard in fencing, is assigned to 
Alamogordo on a super-secret project/ His job is to see that n# 
scientists changed shirts. It was his job to change them, not theirs. 

Virginia Dublin, a specialist in splitting infinitives, is brought to 
Alamogordo to teach the children of atom-splitters how to split infin- 
itives to conform with the split personalities of the community. 

One day, while Hatt’s back was turned, she got his department. She 
was on the hunt for Jackie Morbid, who was playing hookey. As she 
tried to leave, Hatt insisted on taking her shirt off. She slapped his 
face and caused such a row that Dr. Morbid came out to see what all 
the commotion was about. 

When he learned his kid was on the loose he became hysterical. A 
hunt revealed has was off limits. Then came a telephone call indicat- 
ing he had been kidnapped and was being held- for ransom. The price 
was simply some formulas only Dr. Morbid knew. 

Hatt and Virginia forgot their deferences in this new crisis and the 
next' hour is simply a chase to find the moppet. He is discovered, hav- 
ing escaped his captors, hanging from a clipp. Hatt makes a rope of 
shirts, but it is still too short to affect a rescue. Virginia sees the 
problem and goes behind the mesquite bush. From there she hands 
her slip and bra to Hatt. In the nick of time Jackie is rescued. Hatt 
returns the tom bra and slip to Virginia by tossing them over the bush. 
The security guard and state troopers arrive just in time to miss the 
whole thing. Virginia is dressed by the time they come crashing into 
the scene. 

She and Hatt and Jackie get in the backseat of a rescue car, and 
while the moppet gets ready for the whacking of his life, the lover* 
embrace. 

^This is a picture for college kids who get a thrill out of unoccupied 
J unmentionables. 


Wednesday, October 1, 1952 


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SMASHING 
EVERY RECORD 
IN 35 -YEAR HISTORY 
OF RIVOLI, NEW YORK! 


There’s No Business Like 



'77 


Business ! 


Branch Managers’ Testimonial Sept. 23— Dec. 27 


PICTURES 


Exhib Plan to Charge 
Distribs for Comm’l Fix 
Stirs Sponsor Tangle 


minor hassle among distribs of 
these pix, who, have been making 
the films available to theatres at 
no cost for some time. 

E. L. Manke, of Modern Talking 
Picture Service, a leading distrib 
of commercial pix of a highly insti- 
tutional nature, said flatly that 
films would be withdrawn because 
sponsors would not go for the extra 
cost. He said pix distributed by his 
outfit were general and had enter- 
tainment value, so that the com- 
mercial plug was barely, if at all, 
discernible. He cited “Green Har- 
vest,” a short put out by the lum- 
ber industry, which plugged for 
conservation and said nothing 
about the use of lumber. Manke 
also pointed out that the booking 
of the commercial pix saved many 
exhibs coin on their short subjects 
rentals. 

Commercial pix, running from 
seven to about 15 minutes, are fre- 
quently used by smaller theatres 
as regular parts of their programs 
while the big Broadway houses oc- 
casionally employ them as fillers. 
Roxy, N. Y., for example, makes 
use of these pix to fill program 
time during the morning shows or 
to plug a gap when the stage show 
runs short. 

Modern Talking Picture Service, 
which has contacts with bookers 
in all the U. S. exchange zones, 
is currently placing about a half a 
dozen of the sponsored pix. Some 
are appropriate for national dis- 
tribution, while others are suitable 
only for regional showings. Pix 
cover such subjects as sugar beets, 
electric power, lumber, banking, 
credit and gasoline. 


should decide date of Johnston’s 
departure for Paris. Likelihood is 
that he will be accompanied on his 
trip by Ellis Arnall, president of 
the Society of Independent Motion 
Picture Producers. After the 
^ ^ I breakdown of negotiations between 

Recent Variety story that thea- 1 and the French, MPEA 

tremen were mulling the possibil- board gave its prexy full powers to 
ity of charging for the showing of deal with the situation as he sees 
commercial pictures, touched off a ! 

Franco-U. S. Obstacles 
Formal Franco-American deal 
ran out June 30 and subsequent 
talks hit several obstacles. - First 
came when the ' French, taking 
their cue from the MPEA Italian 
pact, hinted they would favor a sub- 
sidy arrangement. Outlook was 
bright for a while when Johnston 
actually proposed the idea at 
the first round of Paris conferences. 

MPEA head’s capitulation 
astounded some Paris observers 
and was quickly and effectively 
nixed by the SIMPP, which came 
out flatly against any subsidy ar- 
rangement, Subsequently, the 
French changed their minds and 
withdrew their offer to remit the 
remaining $4,800,000 at the agreed 
capital account rate. 

Jap situation is constantly creat- 
ing new problems, with the un- 
freezing of additional coin and 
Tokyo’s yardstick in dividing total 
of import permits between majors 
and the indies taking the spotlight. 
Richard T. McDonnell, special 
MPEA rep, is due to leave for Ja- 
pan soon in an attempt to un- 
thaw additional funds accrued to 
the U.S. companies since the war. 
McDonnell, who recently was suc- 
cessful in prying loose $5,000,000 
in frozen earnings, is going to at- 
tempt to unlatch another $2,472,- 
661. 

Tokyo Government has set the 
total of U.S. import licenses at 74 
for the first half of the financial 
year, with the Finance Ministry 
set on a 60-14 split, a reduction of 
three pix for the majors and one 
for the indies. Should the Japan- 
ese division be found unacceptable 
by the Americans, plan is to dump 
the whole problem in the lap of the 
U. S. producers. 

Irving Maas, MPEA veepee, is 
currently in Tokyo to discuss the 
situation with the Finance Minis 
try and also to work out details of 
U.S. company participation in the 
foreign picture screening board 
now in the planning stage. 


P'fiSilETY 

Joe Ravotto to Europe 
To Harmonize U.S. ‘Voice/ 
Pix Messages Vs. Soviets 


Slashed Budget 


Continued from page 3 


saturation would ever be achieved, 

I or whether it’s even desirable. 

“I’d like to be able to reach each 
of our primary target groups in 20 
different countries with non-thea- 
trical film shows every two weeks, 
he said. Film package offered for 
one showing runs between an hour 
and an hour-and-a-half. 

State Dept, at present turns out 
about 300 reels a year, acquiring 
two pix for every one it make on 


” jits own. This breaks down into 


B. 0. Optimism 

Continued from page 3 


a* 

ii 

f: 


on Earth” (Par) Rnd - “Xvanhoe” 
(M-G) are surpassing records which 
have stood for years at. many 
theatres. 

While theatremen’s complaints 
about income were down to a whis- 
per at the TOA conclave, their big 
beef was over the continuing" up- 
beat in operating expenses. They 
feel though that there will be a 
sufficient lift if the current cam- 
paign to repeal the 20% Federal 
admissions tax is successful. 

Also seen reflecting -the hearten- 
ing uptrend. is the big investment 
made by the Ralph Stolkin group 
in RKO. Howard Hughes .sold out 
his controlling stock at $7- a share 
to Stolkin and his businessmen 
pards. It’s understood that Hughes 
would have relinquished his inter- 
ests long ago if that price was met 
by previous bidders. 

In addition to ’the b.o. improve- 
ment, which began in mid-summer 
and is continuing, strong factor be- 
hind the encouraging state of the 
industry is the 'number of adjust- 
ments on the economic front. Over- 
all, production budgets and shoot- 
ing time have been substantially 
cut and other operating economies 
have been placed into effect. It’s 
recalled that Metro recently halved 
all exec salaries beginning over 
the $l,000-per-week level. 

The most’ optimistic analysis 
heard from a company president 
in years was made by Balaban in 
New York last week following his 
return to the homeoffice after two 
weeks on the Coast. On the basis 
of talks with Par studio heads and 
the chief execs of other film com 
panies, Balaban stated, the “present 
boxoffice upswing, will' be main 
tained and undoubtedly increased.” 

The Par prez said he was plenty 
high on Par’s future and added: 
“Similar enthusiasm is felt for their 
product and for their planned pro- 
duction in 1953 and beyond” by 
other prexies. 


Propose Wald 

Continued from page 3 


French, Japanese 


Continued from page 3 


... 


imply approval of the French cut in 
the number of dubbing permits is- 
sued to foreign imports. Holly- 
wood’s share was whittled from 121 
to 90. For the moment, at least, 
U. S. companies are not picking up 
any of these 90 licenses, and con- 
tinued refusal on their part to ac- 
cept the French cut will result in 
the pic shortage. 

Presidents’ powwow tomorrow 


stood that Corwin requested Wald 
to come east to be on the spot when 
the deal comes up but the film 
maker felt that Pickman, who is 
the business head of Wald-Krasna 
Productions, could handle all de- 
tails. Pickman arrived in Gotham 
over, the past weekend from Texas 
where he and Wald were oh a Six- 
day whistle-stop tour promoting the 
newest Wald pic, “The Lusty Men.” 

Initial discussions took place in 
Gotham yesterday between Grant 
and Pickman but it’s understood 
that iiothlhg concrete developed. 
Also participating was Sidney Kor- 
shak, Chi attorney, who has 'been 
active on the Stolkin side. 

Also as part of the pact, it’s said, 
is the purchase by RKO of Wald’s 
50% stock ifitere’st in the W-K unit. 
Basis of this portion of the overall 
deal is a bottom price of $250,000 
and an escalator formula determin- 
ing additional sums in accordance 
with the profits brought in by the 
four pix Wald-n^de-fOT-KKO-under 
Hughes. These are “Blue Veil,” 
“Behave Yourself,” “Clash by 
Night” and “Lusty.” Also involved 
are eight unproduced properties 
developed by W-K 

Although he’s had talks with 
both Columbia and ‘20th-Fox on a 
possible affiliation, Wald has said 
he’d be amenable to the RKO spot 
if the arrangements could be 
worked out. Until a short time ago 
a pact with Col looked like a strong 
likelihood with Wald to operate as 
a straight producer under prexy 
Harry Cohn. 

Attending the directorate session 
today, will be Stolkin, Corwin, A* L. 
Koolish (Stolkin’s father-in-law 
and head of Empire Industries, Chi- 
cago), and Ray Ryan and Edward 
Burk, San Antonio oilmen. Stolkin, 
Koolish and Ryan are committed 
for around 90% of the $7,346,340 
to buy Hughes’ 1,013,420 shares and 
the 36,0Q0 shares held by prexy 
Ned E. Depinet. 

In addition to voting upon the 
personnel setup, new RKO operat- 
ing policies expectedly will be de 
cided at the conclave tomorrow. 


Joseph C. Ravotto, veteran' ex- 
Vareety mugg in Berlin, Paris, 

Rome, Madrid and Lisbon — the 
course traced prewar by Hitler’s 
aggression — is returning to Paris 
to head up the film division of the 
combined press bureaus of the Mu- 
tual Security Administration and 
the U. S; Information Service 
abroad. MSA, successor to ECA, 
and USIS often have been, charged 
with airing two different view- — 1i;n 

propaganda be of like pattern. f 6 h ‘ and 10 shorts per ' tarEet coun 

Under this new information, pro- tr y* __ a ; n it <5 

gram whicH Ravotto will supervise Half Produced in U. S. 

will come also the Voice of Amer- Of the 300 reels, about half are 

Motion picture propaganda is produced in the U.S. and the rest 

also on the agenda to offset the abroad under American supervision 
Russians’ admittedly potent pix and often from scripts written by 
pitch, with which they have been Hollywood writers. Group of film- 
making impact in the Middle East, ites who left recently for Germany 
the “Far East, and also some of the under State Dept, auspices to pen 
fringe Iron Curtain countries. info pix there includes Virginia 

Besides the counter-propaganda Van Upp, Agnes Christine John- 
against the Commies, NATO, pro- ston, William Rankin, and Frank 
ductivity (more production for less and Mitchell Dazy, the latter work 
hours; the American assembly line ing as a team, 
technique), and other European Films lensed abroad are done 
functions will be integrated So that in semi-documentary fashion, which 
the Marshall Plan countries get the permits a story line. State Dept, 
same reflexes. has used feature approach only for 

MSA has counterpart funds past two years but rules out use of 
(pounds, lira, francs, marks, etc.) Hollywood personalities for the 
available, which had been, paid for reason that they would weaken the 
U. S. resources exported to the credibility of the shorts. 

European lands, and these monies However, an attempt is being 
will be expended on a local level made to introduce more of a show- 
for America’s ‘ new propaganda manship touch in the reels farmed 
campaign. Each of the “country out by the Department. Edwards 
missions,” as the U. S. agencies in revealed that veteran Hollywood 
the various Marshall Plan coun- producer Tim Whelan is being con- 
tries are called, will report to the sidered fora job with the division 
Paris regional office and under that where he would supervise produc- 
streamlined and centralized opera- tion. Whelan is currently under- 
tion Ravotto will handle the Amer- going the various formalities pre- 
ican propaganda attitude abroad, ceding his hiring by the State Dept. 

This year’s Congressional budget- 
cutting spree, which reduced film 
division funds to $7,000,000, $3,500, 
000 less than has been requested, 
1 1 has forced Edwards to cut the num- 
ber of language versions from 26 
and complete endorsement is an- to 15. Two out of every three 
ticipated. pix used by the division are ac- 

Abram F. Myers, Allied States quired from outside sources. 

Assn, board chairman, takes a dif- Cost of pix made by the Depart- 
ferent view. He stated* in D. C. ment has risen from $10,000 to $12,- 
last week that, because of the 000 a reel in 1945 to $15,000 to $16,- 
changes made by the film company 000 in 1952. 
presidents, there has been no prog- “We no longer content ourselves 
ress toward getting arbitration off with telling the American story, 
th6 ground since Aug. 20, when the Edwards reveals, “Now we also try 
orMnal plan was drafted. to expose Red lies and give the 

That the company heads are anx- audience an inkling of what might 
ious $a hit upon a mutually agree- happen to them under Commun- 
able system is seen by their con- ism.” 

tinuing- attempts to re-draft the Films division currently employs 
plan. : It’s said that the changes 35 full-time employees in 26 coun- 
they made were in the nature of tries, with the film needs of other 
recommendations to the exhibs and areas taken car- of by State Dept, 
not outright demands. Since personnel concerned also with 
Myers, in particular, Was not in other info matters. More than 300 
agreement with the revisions, the mobile units bring the U. S. pix 
company heads and their chief messages to out-of-the-way places, 
counsel are studying new changes, and £he division has about 4,000 
Ultimate plan is for the chief 16m projectors, which it lends on 
execs to hold another- meeting request. 

shortly on Writing a new arbitration The State Dept, eventually may 
plan. This had been tentatively get around to making special TV 
set for tomorrow (Thurs.) but Eric pix for use abroard, according to 
Johnston, president of the Motion Edwards. 

Picture Assn, of America, and the 
MPAA member companies now feel 
that the entire session will have 
to he given to pressing foreign 
market matters. 


Wednesday, October 1, 1952 


hundred dates on the strength of 
the English dialog. 

Currently in the dubbing works 
is the Lux pic, “Anna,” which is 
being revamped’ for U. S. consump- 
tion in N. Y. under IFE supervision. 
Plans call for the film to be dual- 
premiered, with the subtitled ver- 
sion going into an east side art 
house, as # customary, and the 
dubbed pic making its bow on 
Broadway. 

The distribs feel that once the 
American audience has become ac- 
customed to seeing dubbed imports, 
it will take the development in its 
stride. Importers cite European 
acceptance of dubbing, with practi- 
cally all Hollywood films getting 
the treatment for their general re- 
lease in Italy, France, Germany and 
Spain. 

• U. S. majors for a time tried 
dubbing exports for South Ameri- 
can market but the experiment was 
a dud, largely because of language 
differences within the various coun- 
tries. 

One of the dubbing hurdles is 
that the number of pix that lend 
themselves to the treatment is lim- 
ited by the very nature of the 
material. Preferred films are those 
that lean heavily on visual appeal, 
i.e. spectacles like “Fabiola” which 
turned in a nice profit. 

As television continues to suffer 
rom the lack of adequate Holly- 
wood product, foreign film distribs 
figure they can’t lose • by offering 
dubbed pix. They say they can al- 
ready double their dubbing cost by 
selling to TV, and they foresee the 
day when a good import will clean 
up in art theatres, regular runs 
and TV. 


Gov!, as Stymie? 


Continued <fs$m page 5 


B. 0. Acceptance 


Continued from page S 


20th-Fox, Artie 

Continued’ f roirT~page " 1 ? ; 
agreed to the elimination, 


adds 


play the art circuit first and later 
do a repeat in dubbed version. 
Costs the Same 

-Gests-of' <Ltbbing~& -of-} 
in Europe are approximately the 
same, ranging from $14,000 to $30,- 
000 on the average, The final tab 


Davis. In fact, his deal, he avers, _ _ ^ 

gave him the “unprecedented being determined less by the qual- 
privilege of doing his own publicity lty of the job than by the number 

on the pic and placing ads on it q£ jo ba dubbed in. 


through his own agency. With this 
understanding, he put pic into the 
works. 

Next, Davis was informed 20th 
had opened the O. Henry pic at one 


Distribs admit that European 
studios have dubbing facilities far 
superior to those found in the U. S. 
but they argue that dialog added 


Glenn Ford 

Continued from page 1 


UttU AAWlli Jr Ob VliW ’ ji /-> _ j • ^ l i * i <, .. 

or two out-of-town spots, that na- 

tional mags had gandered the film, lt attractlve to 

and reaction to “Red Chief” was Amer * can audiences, 
not unfavorable. As a consequence, Accent on dubbing activities is 
20th did not feel justified in pulling highlighted by plans of Italian 
the Allen-Levant sequence. Films Export to operate its own 

Distrib’s version is that Davis, dubbing studio in N. Y. The facili- 
cooling on Chaplin pic after ■come- t ies are expected to be installed 
dian was rapped by the Attorney al *d ready within two months, with 
General,, returned to 20th with de- ^E doing the job for individual 
mand for the O. Henry film, which Italian producers. Mauro Zambuto, 
by then had gone Brandt’s way. Italian dubbing expert, has been 
While undecided on future course h ere for several months investigat- 
of action, . Davis has meanwhile i n 6 . various problems involved in 
booked Universal release, “The setting up a studio. 

Promoter,” Alec Guinness starrer, Most recent Italian-dubbed hit 
to follow the current “Stranger In was “Bitter Rice,” which chalked 
Between.” The O. Henry pic is up 3,400 bookings in its foreign- 
slated to follow “Ivory Hunter” into language version. The Lux release 
the Trans-Lux house. is expected to ring up another few 


try now are doing everything they 

can think of to get out. the vote,” 
F.ord pointed out. “Here’s an ideal 
opportunity for the industry to 
join in a civic undertaking on both 
local and a national level and 
help boost the percentage of eli- 
gible citizens who take advantage 
of their voting privilege.” 

Election day is only five weeks 
away and the industry would Hiave 
to get started 'on the scheme im- 
mediately, Ford pointed out, but 
there’s still enough time to guaran- 
tee that the message reaches every 
eligible voter in the country. Actor 
volunteered to spearhead a local 
committee which would launch the 
plan in Hollywood by making spe- 
cial trailers ^hich could be sent 
to the nation's theatres. , 

“The trailers alone should he a 
big help to the vote-getting cam- 
paign,” Ford opined. “If we could 
get them to the theatres about two 
weeks before ' election and run 
them at every performance every 
day, we could get the vote mes- 
sage to millions of people.” 

Problem of getting out the na- 
tion’s voters has , been in Ford’s 
mind since his last trip to Europe 
last year. “I got a much clearer 
picture of how precious a privilege 
the vote is,” he explained, “when 
I got behind the Iron Curtain for 
a while and . travelled through 
other Countries where there is no 
universal suffrage such as we have 
here.” 

Vote Receipt Pass * 

The current campaigns being 
staged to insure a tremendous 
turnout at the - polls crystallized 
the idea in the actor’s mind and 
he began working out plans for- a 
film industry drive. Framework for 
the scheme' “Has' “ “already T5eerT~ 
roughed out and is ready to be 
acted upon by interested indivi- 
dual exhibitors or associations. 

Under Ford’s plan, voters in 
those states where voting receipts 
are disturbed would use those re- 
ceipts as an admission pass to their 
local film houses.' In other states, 
exhibitors could arrange with vot- 
ing registrars to countersign 
mimeographed forms, to be sup- 
plied by industry groups, certify- 
ing • that the voter had * actually 
exercised his franchise. 

Receipt or mimeographed form 
would serve as a free, admission, 
when the bearer Is accompanied 
by a regular paying patron, for 
seven weekdays beginning on the 
day after Election Day. Thus, Sat- 
urday and Sunday would be ex- 
cluded under the terms of the ar- 
rangement to enable exhibitors to 
secure the necessary paid admis- 
sions for a one-week period to 
guarantee that the vote-getting op- 
eration would not cue an opera- 
tional loss. Patrons, of course, 
would pay the required Federal 
admission tax on the pass. 


Wednesday, October 1, 1952 


19 


PlSznsTY 



They’re Standing on Line for M-G-M’s 

"BECAUSE YOU’RE MINE"! 

Getting the dough 


M A r? f 0 



like "Ivanhoe 


ft 




.ft 


NMajijfcCAy 






; r» wrw Mju.t; 




. r -'' vyv^ 


• . • 1 V.‘ • 

' $k# 

r ' 


ANOTHER M-G-M llON<UP AT RADIO CITY MUSIC HALl 


Typical audience reaction reflected by 
newspaper acclaim: "DROVES WHO 
FLOCK tO SEE AND HEAR MARIO 
LANZA SHOULD DO SO AGAIN 
. . . BEST YET ... A BOXOFFICE 
BONANZA, AN ENTERTAINMENT 
WHIZBANG! ” 


M-G-M presents Mario Lanza in * i BECAUSB { 
YOU’RE MINE ” * Introducing Doretta Morrow with, 
James Whitmore • Color by Technicolor • Screen Play, 
by Karl Tunberg and Leonard Spigelgass • Based on d) 
Story by Ruth Brooks Flippen and Sy Gomberg / 
Directed by Alexander Hall • Produced by Joe Pasternak, 


MIAMI BEACH BONANZA! 

Second highest M-G-M opening in more than two years! 

DAYTONA BONANZA! 

Best M-G-M week-day opening in more than a year! 

ROYAl COMMAND CHOICE! 

Chosen for the Royal Film Performance in London, 
October 27. Great Britain's highest film honor! 


SAVE TOP PLAYING TIME! M-G-M 


Remember *Tbe 
Great Cqru$o"! 


MTEItATI 



V' 

v 

•J, 

•i 

» 



Wednesday, . October 1, 1952 


Rush Adlai Job 

Random House is rush-publish- 
ing “Speeches of Adlai Stevenson,” 
128-page paper-bound tome selling 
for $1. John Steinbeck wrote the 
foreword and Debs Myers and 
Ralph Martin have written a 2,500- 
word biog of the Democratic 
nominee. 

Book was contracted for on Sept. 
24, hurried to press on Sept. 26 
and will be released. Oct; 16. 


Paul Galileos’ Vox Pop 
Under the N. Y. Daily News 
“Voice of the People” the follow- 
ing announcement appeared Sept. 
25: 

“In order to forestall rumor and 
misinterpretation, we deeply re- 
gret to announce that after some 
13 years of marriage we have 
reached a parting of the ways. The 
reason for this action may be said 
to be a latent and increasing in- 
compatibility and the need and de- 
sire of each to work out his and 
her career individually. There is 
no other woman. There is no other 
man. There is no contemplated 
‘next’ for either of us. There is 
nothing between us but affection 
and deep regret that we can no 
longer continue in marriage. We 
shall seek a divorce. This is our 
whole story and although we are 
- ■not—unavailable-we-.wil.l— have-.nn 
further statement or amplification 
to make on the above. 

( Signed ) Pauline Gallico, 
Paul Gallico . 


the Hartford fire and volatile 
prima donnas, he was finally felled 
by a quarter pole in a Dallas cy- 
clone in 1945. He even recovered 
from that, but at 83 he now takes 
things easy in the Sarasota sun. 
Easy, that is, until someone refers 
o him as a “ringmaster. 

(“The Big Top” went into its 
second printing (19) on the eve of 
its publication date, due to a big 
advance order by circus . . 

Bradna certainly has the right 
to write about the American circus 
from 1900 to 1950, and he has done 
it accurately, colorfully and aro- 
matically, tinting it with thqhigh 
style of a man who was always one 
of the class figures in show biz/ 
Here is the true story of Liman 
Leitzel, of the Ubangis and Zip, 
and why clowns are called Joey, 
Charlie and Auguste. It descnbes 
for the first time m detail the last 
embattled years of John Higgling 
and has complete word - portraits 
of King Otto HmgUng, • Alf T., 
Charles and the other brothers, 
and of James A. Bailey, who hired 
Bradna in Europe. He introduces 
a youthful circus apprentice 
named Johnnie North and takes 
you on a circus honeymoon in an 
upper and lower over the wheels. 
He says that bears are the most 
circus beasts and la- 


t 

• • • » 


Once A Ham 
Quondam actor John Lodge, now 
governor of Connecticut, was prin- 
cipal speaker recently at a nearby 
West Haven dedication cere- 
mony of the First Congregational 
Church, chairmantred by local 
Variety mugg Harold M. Bone. 

As the governor sat down at the 
conclusion of his talk, Bone thank' 
ed him for a fine address. -His Ex- 
cellency replied: “What sort' of 
notice would you have given me 
in Variety?” - 


blitz but the hotel was never put 
out of action. 

Because the film and theatre 
personalities who stayed at the 
Savoy during her term of office 
obviously provided the best copy, 
Miss Nicol has filled many pages 
with fascinating anecdotes about 
the stars. Kaye naturally comes 
in for a lion’s share and many of 
the stories told of him are quite 
new. There are also interesting 
sidelights on meny British political 
personalities. The regular wartime 
visits of Winston Churchill, and 
yarns about A. P. Herbert and the 
editors of the national dailies, are 
described by the author in a facile 
if not entirely objective light. 

Myro. 


Atiantio Club Kickoff 
Atlantic mag will kick off the 
Atlantic Monthly Book Club this 
month with James Norman Hall’s 
autobiography, “My Island Home.” 
The alternate selection for Octo- 
ber will be “The Tundra World,” 
by Theodora C. Stanwell-Fletcher. 

Atlantic editor Edward Weeks 
and his editorial associates, Char- 
les W, Morton and Charles Rollo, 
will select the books for the Club. 


More of the Human Museum 
Shrewd observer of the passing 
show business scene, seer of 
screwballiana, ace interviewer and 
obviously sage student of human 
nature that he is, it is no surprise 
that Maurice Zolotow’s latest is 
socko. “It Takes All *Uhds,”.an 


dangerous circus pe asts | thology of many of his Satevepost 

merits the' passing „ , x ^tTTpiecps,' mcrudes“a couple" of riewies 
niques which produced May Wirth “• - * - — - 


A Tallulu of a Book 

Tallulah Bankhead has another 
hit on her hands — her autobio; 
Few people have, cause for soul- 
searching and if they do it’s usually 
a case of who cares? but Miss 
Bankhead, circa 1952, is as much 
public property as her beloved 
Giants or Marilyn Monroe. So 
there is a vast audience (thanks to 
NBC’s “Big Show” builder-upper) 
who will care. It’s a cinch that 
“Tallulah (My Biography)” (Harper; 
$3.95), including 24 pages of photo- 
graphs, will attract that . vast 
audience. 

Few public personalities are as 
frank about themselves or have 
reason for introspection, but in the 
case of the daughter of Congress- 
man Bankhead — the “My Daddy” to 
whom she dedicates her memoirs — 
there is much justification. 

There is special dedication to 
Broadway publicist Richard Maney 
for his collaborative interest. 

A legend within her own time, 
she is an extrovert who doesn’t 
spare herself in her saga of show 
biz struggles; her expression of 
personal spleen (Billy Rose, Mi- 
chael Myerberg, Lillian Heilman, 
Herman Shumlin); her dislikes (to 
get up, go to bed, and be alone); 
her passionate likes (the Giants, 
ribald company, yatata into the 
night); her positive opinions (news- 
papers hate to retract their erra- 
tum, although she is goodhumored 
amidst her definite expressions on 
this subject, mentioning her tussles 
with Arthur Hays Sulzberger, Sam 
Zolotow, Danton -Walker, et al.X; 
her general disdain of the critics; 
- -her-sex life-attitudes^- frankly- re-- 
counted in an entire chapter cap- 
tioned “Flirtation With Sin”; her 
eight years of glory in Londoms 
West End; the gamut from guzzling 
to gambling; her schoolgirl adula- 
tion, that lingers to this day, of 
such theatrical greats as Ethel 
Barrymore; her fluctuating for- 
tunes; and the rest of it right up 
to Hollywood, radio, etc. 

Paraphrasing the' author’s pet 
greeting, “Tzfjlulah” is a “dahrling” 
of a book; it defies being laid down 
and not quickly picked up again. 
It’s good reading. In a measure it 
is a revealing saga of our times, 
personalized by a never-dull career 
of a ■ compelling personality. It’s 
a “Tallulu” of a personal memoir. 
It’ll sell big. Abel 


Lucio Cristiani and Ella Bradna, 
his equally celebrated wife, who 
was still riding handsomely at 70 
He also explains the eclipse ot 
great solo clowns like Silvers Oak- 
ley and Polidor. He calls Buffalo 
the poorest .circus town, and Den- 
ver the best, and tells how the 
Hollywood celebs crowd the act 
in Los Angeles. He also tells why 
the Big Show will never play 
Scranton again. And he deals 
bluntly with ticket cadgers and 

other pests. , , , 

Here also is Bradna*s proposed 
Hall of Fame for the circus and 
his nominations for it in every 
branch from exploitation to com-* 
mon working man. These appear 
to be conscientious selections, not 
sops to old friends, and it is con- 
ceded that Bradna, as the ranking 
circus veteran in America, has the 
right to start this gallery. * 

■ “The Big Top” takes its place 
among the best books ever written 
about the circus, and will be eager, 
controversial reading for anyone 
who ever worked rings, stages* 
wire or webbing. Or who ever 
loved the circus. Doul. 


Fanny Brice Biog 
“Fabulous Fanny,” life story , of 
Fanny Brice, headlines the No- 
vember Ladies’ Home Journal. 
Written by Norman Katkov frojn 
300 pages of notes the late come- 
dienne left behind, plus interviews 
with her and her friends, the story 
will run through four issues. 

Pieces cover Ziegfeld Follies 
days, the “Baby Snooks” radio 
stanza, etc. 

« 

' DeVries’ Breezy Anthology 
Peter DeVries is another New 
Yorker contributor who has put to- 
gether his pieces from that weekly 
(plus one from Harper’s) into a 
breezy book titled “No, But I Saw 
the* Movie” (Little, Brown; $3). It 
is good bedside reading, sophisti- 
cated yet generally appealing. His 
tongue-in-cneek observations on 
the passing American scene will 
strike a nerve with everybody. 

Little, Brown-Duell, Sloan & 
Pearce’s stable of New Yorker au- 
tors, incidentally, now includes 
Ludwig Bemelmaris, Hortense Ca- 
lisher, John McNulty, Joseph 
Mitchell, “ '"Ogden Nash','' "'Mottle 
Painter-Downes and J. D. Salinger. 

Abel. 


Bradna’s Circus Lowdown 
Fred Bradna, with the Ringling 
Bros.-Barnum & Bailey Circus for 
more than 43 years, has written, 
with Hartzell Spence, lusty me- 
moirs of those years in “The Big 
Top” (Simon & Schuster, $3.95). 
Bradna, in a silk hat washed with 
beer to keep it shiny, was the 
equestrian director of the Big One 
all those years. Surviving many 
managements, blowdowns, wrecks, 


Scrutinizing The Savoy 

Through the swing doors of the 
Savoy Hotel in London's Strand 
have passed most of London’s vis- 
iting celebrities. In recent years, 
particularly, it has become the 
mecca for show biz personalities, 
and most top-ranking execs and 
stars have stayed there at one time 
or another. 

Jean Nicol, who was pressagent 
at the Savoy for some 10 years, in- 
cluding the whole of the war pe- 
riod, has penned her impressions 
in an engrossing book, “Meet Me 
At The Savoy” (Museum Press, 
$2.50), with a foreword by Danny 
Kaye. 

During the war, the Savoy be- 
came an unofficial press club for 
American correspondents and 
large slice of the yarn is inevitably 
taken up with the problem of run- 
ning a No. 1 hotel during an era of 
shortages of food, liquor, etc., 
while the bombs were falling 
nightly and many of the guests 
were being housed in air raid shel- 
ters, The Savoy didn’t escape the 


(the opening chapter, “The Eccen- 
tric Way of Life” and “Feedbox 
Jack”). It’s arresting reading that 
should -find a wide orbit. 

“It Takes A1J Kinds” (Random 
House; $3) .tells it by its title — and 
all of them aren't haywire. There’s 
nothing but suave sagacity and ur- 
banity in the finale piece, an ex- 
cellent profile on Cartier’s ace 
salesman and goodwill ambassador, 
Jules Glanezer. 

The 12 chapters include close- 
ups on Dunninger, Cardini, Rich- 
ard Himber, S. S. Adams, Jim 
Moran, Charles' Dempsey, Henry 
Nemo, Bruno Furst, Maurice 
Dreicer and Glaenzer, whose di- 
verse personalities reflect one 
common ground — the passionate 
desire to be different. The exhi- 
bitionism runs the gamut from 
cruel practical jokes, mixologists, 
seekers of good steaks, off-beat an- 
tics, party-giving and wierdies, and 
points up anew haw diverse a pa- 
rade we mortals be. 

Zolotow’s skillful treatment and 
sharp journalistic insight almost 
endows some with a" distinction 
that borders on of-the-moment im- 
mortality. His is the hep news- 
paperman’s approach rather than 
the conventional magazine “pro 
file” etching. He is as surgical as 
Dr. Kildare in his clinical close- 
ups on the mores, modes and man- 
ners of these sundry men — and he 
is as entertaining as the “Folies 
Bergeres” as he denudes them. It’s 
swell reading. Abel. 


Big in Books Too 
Texas is big in book circles, too, 
says Charles Hackelman, editor of 
Popular Edisons. Put “Texas” in 
a book title, be it western or other- 
wise, and it sells — and especially 
in that state. 


Vaude Song Survey 
With a background of the songs 
popularized by vaudeville singers 
over the past century, “They Were 
Singing,” a new book by Chris- 
topher Pullem [George G. Harrap, 
$2.60] pictures different aspects of 
English life as reflected in the 
songs. The* final four chapters, en- 
titled “A Bit of Background,” have 
an emphatic, nostalgic appeal in 
its review of the rise and. fall of 
the music hall. 

“Many of* the tunes featured’ In 
the book are still being sung. Pre- 
sumably they will never die, but 
even those that have been forgot- 
ten give a lively glimpse of socia 
changes, with pungent comments 
on topicalities of their day. 
special feature of the publication 
are the numerous contemporary 
illustrations and the line drawings 
used for chapter headings. 

Myro. 


a 


of Theatre Arts, after a summer- 
vacation absence. 

Paul Denis writing a book, “pp* 
portunities in Dancing,” for spring 
publication by Vocational Guid- 
ance Books. 

British Book Society is publish- 
ing an English edition of Irving 
Stone’s "The President’s Lady, 
currently filming at 20th-Fox. 

William Donald Maxwell, Chi- 
cago Tribune managing editor, will 
be awarded an honorary, doctor of 
iterature degree at DePauw U. 
Oct. 15. 

Howard Taubman’s “Mitropou- 
os, Unpredictable Maestro,” pro- 
file on the N. Y. Philharmonic con- 
ductor, in the October House & 
Garden. 

Paul Gallico, author-columnist, 
and Harold Callender, Paris bu- 
reau chief of the N. Y. Times, en- 
route to Europe on the Queen 
Elizabeth. 

Elmer Peterson contributing 
number of anecdotes for the 
forthcoming Putnam book dealing 
with experiences of foreign corre- 
spondents. 

Ray Hunt, former Chicago Sun- 
Times feature and amusement edi- 
tor, has been named editor and 
general manager of the South 
Bend, Ind., Record. 

Leo Lerman, entertainment edi- 
tor of Mademoiselle, to leave mid- 
November for a 10-week combined 
vacation-biz trip to Scandinavia 
and western Europe. 

Michael Blankfort’s “The Jug- 
gler”' win TieTubnshed^irrpiJiker 
book edition by Dell Publications 
to coincide with the release of 
Stanley Kramer’s film version. 

Bill Ornstein, Metro trade rep, 
currently in American Jewish- 
Times Outlook with “The Moon 
Turns Green” and in Baltimore 
Jewish Times with “Growing Boy.” 

Alfred A. Duckett, managing 
editor of Tan, and former associ- 
ate editor of Ebony and Jet mag- 
azines, has resigned from hfs post 
to open a public relations office 
in Chicago. 

Barnett Fowler, byliner for the 
Albany, N. Y., Times-Union, ap- 
pointed to the Siena College fac- 
ulty as instructor in journalism. 
He will continue the newspaper 
affiliation. 

Emory Lewis appointed feature 
editor of Cue mag, succeeding 
John Keating, newly-named drama 
critic by Archbold van Beuren, 
publisher. Lewis will also cover 
legit interviews and features . 

All 16 short stories published by 
Mademoiselle during the past year 
are cited by Martha Foley in her 
“The Best American Short Stories 
of 1952.” Three stories are re- 
printed in their entirety among 
“the best” of the year. 

Nancy Becker quietly took over 
the advertising and promotion of 
Henry Holt & Co. after Fred Rose- . 
nau’s resignation because he 
wanted to “widen” his orbit. Miss 
Becker was his aide. Maureen Mc- 
Manus continues as publicity 
chief of Holt. 

Arturo Toscanini’s RCA record- 
ing of Beethoven’s Ninth Sym- 
phony was considered so unusual 
that the Atlantic Monthly has 
given the maestro its October is- 
sue cover, plus a full-length copy- 
right story by its music critic 
John M. Conly dealing with the 
nine hours {over two days) -of re- 
cording on the opus. 

Robert Ewing, Jr., of New Or- 
leans, is new chairman of the 
board of the Shreveport Times and 
Monroe News-Star and Morning 
World, all Louisiana dailies. He 
succeeds Wilson Ewing, Monroe, 
who died recently. Ewing had been 
chairman of the board of KWKH, 
Shreveport, and KTHS, Hot 
Springs, Ark., since the death of 
John D. Ewing, May 17. 

.... Entries in. the. fourth. annual art 
exhibit of the Newspaper, Guild of 
N. Y., which opens tomorrow 
(Thurs.) at the Heywood Broun 
Room in Guild headquarters, will 
be judged by a panel of five, in- 
cluding Will Barnett, Edwin Dick- 
inson, John Groth, Ethel Katz and 
Jean Liberte. Employees of virtu- 
ally every newspaper, magazine 
and wire service are competing 
for prizes. 




RKO’s New Mgt, 


Continued from page 7 


to the time of the Stolkin takeover. 
Company's sales staff hopes that 
the pic will be gotten out in time 
to bolster its immediate release 
sked. 

Another problem is that several 
of the pix appear headed only for 
art house engagements. These in- 
clude “Under the Red Sea,” which 
is being teamed with,., “Tarzan’s 
Savage Fury’^for dual bill runs; 
“Face to Face,” the two-part 
Huntington Hartford production 
featuring yarns by Joseph Conrad 
and Stephen Crane, and “No Time 
for Flowers,” a Mort Briskin-Don 
Siegel film made in Vienna. In 
addition, there’s a western, “Mon- 
tana Belle,” starring Jane Russell. 
Latter film was picked up by 
Hughes several years ago from 
Howard Welch, who obtained Miss 
Russell from Hughes on a loanout. 
Although Hughes has had the com- 
plete rights to the film for sev- 
eral years, release was withheld 
for some unexplainable reason. 
Pic, however, became the property 
of the new RKO management and 
is currently on the company’s re- 
lease slate. 

Only immediate pix on the com- 
pany’s sked which sales staffers 
feel will continue the momentum 
engendered by “King Kong,” “Sud- 
dih''Fear, Tr ' “One Minute to Zero” 
and “The Big Sky” are Jerry 
Wald’s “The Lusty Men,” which 
preenis in Texas this week; 
“Androcles,” set for immediate re- 
lease; “Blackbeard the Pirate,” 
skedded for Thanksgiving, and 
Samuel Goldwyn’s “Hans Christian 
Andersen,” RKO’s biggest of the 
year, pencilled in for Thanksgiving 
release. 

Two pictures have been set- 'to 
roll at the studio for some time, 
but have been held up for various 
reasons. Inavailability of Victor 
Mature, set to costar with Jane 
Russell, delayed “Split Second,” an 
Edmund Grainger production. .Pic 
is expected to roll, however, as 
soon as new management gives the 
green tight. . Similarly, Jerry 
Wald’s “Size 12” is ready to go. 
It had been delayed because of 
Hughes* failure to okay the cast. 
With Hughes out of the picture 
now, it’s felt production will start 
shortly. In oddition, company has 
numerous story ' properties com- 
pleted and ready to roll as soon as 
the new top brass gives the okay. 


Carriage Trade 

Continued from page 7 ; 


CHATTER 

John Kobler’s “Ballet in Amer- 
ica” due in the November Holiday. 

Alistair Cooke’s “Christmas- 
Eve,” collection of short stories, to 
be published by Knopf Nov. 10. 

J. M. Ruddy covering the Holly- 
wood beat for the Kemsley News- 
papers, a 42-paper British chain. 

Harry Meade, ad staffer with 
Cue the last 14 years, has exited 
for a similar post at .Park East 
mag, 

Robert Carson’s “The Magic 
Lantern,” a novel about filmites, 
will be published Dec, 1 by Henry 
Holt & • Co. ' \ 

George Jean Nathan back as 
drama critic in the October issue 


Exhibs Splurge 

; Continued from page 3 


films before 2 p.m. the day follow- 
ing last Tuesday’s (23) bout in 
Philadelphia. 

Although the bout did not in- 
volve a foreign boxer, requests for 
the films from abroad have been 
heavy, according to Sid Kramer, 
RKO’s shorts subjects chief. Spe- 
cial edition, with Spanish com- 
mentary, already has been prepared 
for the Latin-American market. 
English commentary was handled 
by Jimmy Powers, N. Y. News 
sports editor and TV sportscaster. 


paper. For when “Concert” opened 
on Saturday (Aug. 30), business 
was slightly above average. Sun- 
day showed improvement and Mon- 
day had standees. 

Reflecting upon the success of 
“Concert,” Fine recalled that oc- 
casionally “it had been rough in 
the past few years and frequently 
I ‘played . Yiddish, German and 
French pictures when I couldn’t 
get Russian films. The theatre’s 
main support is its ‘foundation 
trade* an‘d they came every week 
regardless of what is on the screen. 

“New customers,” Fine said, “are 
what I call* the ‘marginal trade.’ 
It’s easy to identify them for in- 
variably they phone for directions 
to get to the theatre. Others in- 
quire for the location of the rest 
rooms. I’ve had hundreds of such 
queries.” He also disclosed that 
the admission scale for the 600-seat 
house ‘lias'^remaiitied'iiienstant-in 
recent years at 65-85r$l-$1.2Q 
throughput the week. 

On a huneh° that “Concert” 
might develop into a hit, Fine 
acquired as many recordings of 
arias sung in_ the film well in 
advance of the preem. Since de- 
mand for that tyjte music was neg- 
ligible, he nabbed the platters at 
a nominal price. jDisks had a hefty 
sale at the theatre’s • second-floor 
display rack after the picture’s 
opening. Waxings of basso Mark 
Reizen sold out within a few days. 
Most of the original Soviet record- 
ings, were marketed on the Stin- 
son and R, G. labels. 

Meantime, on the strength of 
“Concert’s” reviews, a number of 
exhibitors have sought to book the 
film. Nicholas Napoli, who distrib- 
utes Soviet-made product via his 
Artkino Pictures, disclosed that he 
only has ‘ “two or three” prints 
available but expects a shipment 
of about 15 more in October. Pic 
opens at the Cinema Annex, Chi- 
cago, Saturday (27) and a tenta- 
tive date has been set at the World 
Theatre, Philadelphia. i 


"ST™ 


Wednesday, October 1, 1952 


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22 


PICTtniES 


PSaM&rf 


Wednesday, October -1, 1952 


Film Reviews 


Continued from page t 


The Blazing Forest 

ging in the big woods and a cli- 
mactic forest fire that resolves most 
of the problems. Edward Ludwig 
gave it suitable direction to point 
up movement and keep the 80 min- 
utes from lagging. 

John Payne plays a tough log- 
ging boss, brought in to cut the 
timber on land owned by Agnes 
Moorehead so she can stake her 
niece, Susan Morrow, to a city life. 
Payne’s a driver who works his 
crew hard so he can get the job 
over and receive his percentage | 
quickly. Miss Morrow, already in- 
terested in the logging boss, comes 
to believe he needs the money for 
another woman when she sees him 
meet Lynne Roberts. Events even- 
tually prove, however, that Payne 
is repaying money stolen by his 
ne’er-do-well brother, Richard Ar- 
len, and trying to patch up the mar- 
riage of Arlen and Miss Roberts. 
Plot brings together loose ends 
when a truck accident starts a fire 
and Payne manages to rescue Wil- 
liam Demarest, logger, with the aid 
of a Forestry Service helicopter. 
Arlen dies from injuries in the ac- 
cident, thus saving him from the 
sheriff for a second theft, and 
Payne can now devote his time and 
money to convincing Miss Morrow 
she doesn’t want to live in the 
city after all. 

Trouping is generally good. 
Payne and Miss Morrow team 
nicely. He puts over the rugged 
facets of his character .and she 
treats the eye with natural lookr. 
Demarest and Miss Moorehead 
hoke up their performances for 
chuckles, and Arlen is an ingrati- 
ating ne’er-do-well. Roscoe Ates, 
camp cook; Miss Roberts, Walter 
Reed and the others are up to 
demands of script and direction. 

Lionel Lindon’s cameras do a 
good color job of putting the actvon 
and outdoor locales on film. Other 
technical assists are* in keeping, 
all helping to shape this one as ac- 
ceptable material for the average 
situation and general action fan: 

Bi oy. 

Strange Fascination 

Sordid drama; okay for exploi- 
tation but spotty in general 
release. 


low-key, downbeat atmosphere un- 
relieved by the slightest presence 
of humor as a change of pace, ms 
is a study in human disintegration, 
and he relentlessly' follows 
through. Production appurtenances 
reflect a modest budget. Vaclav 
Divina contribbed a good musical 
score while also of merit is the 
nocturne composed by Jacob Gim- 
pel plus bis own piano soloing. 
Paul Ivano’s camerawork is okay 
as is Merrill G. White’s editing. 

Gtlb. 


Captive Women 

Clifflianger meller, good for 
juveniles and as supporting 
feature. 


RKO release of Aubrey Wisberg-Jack 
PoUcxfen production. Features Robert 
Clarke, Margaret Field, Gloria Saunders, 
Ron RandeU. Screenplay, Aubrey Wls- 
berg. Jack Pollexfen; camera, Paul Ivano; 
editor, Fred R. Feitshans: music, Charles 
Koff. Tradeshown In N. Y., Sept. 26, 52. 
Running time, *7 MINS. 

Uob Robert Clarke 

Ruth Margaret Field 

Catherine .... I Gloria Sauftders 

Riddon Ron Randell 

Gordon Stuart Randall 

.Captive Paula Dorety 

Bram Robert Bice 

Captive Chill Williams 

Carver William SchaUert 

Sabron * Rric Colmar 

Jason Douglas Evans 


Miller, as the jealous fiancee of 
Hutton, hasn’t much to do. Sup- 
porting players are adequate. 

R. G. Springsteen’s, direction 
gets nowhere with the Arthur T. 
Horman screen story. Budget val- 
ues provided by Sidney Picker's 
production supervision are okay, 
and the technical departments are 
standard. . Brog . 


tinder the Red Sea 

(DOCUMENTARY) 


Overlong film depicting sights 
and sounds under the Red Sea. 


Hollywood, . Sept. 26. 

RKO release of Thalia Productions 
(Sol Lesser) presentation, produced by 
Dr. Hans Hass. Features Hass, Lottie 
Berl. Photographed by Hass and Miss 
Berl; narrative and production supervi- 
sion, Bill Park; narrator, Les Tremayne; 
editor, Robert Leo; music, Bert Grund. 
Previewed Sept. 22, '52. Running time, 
47 MINS 

Expedition leader Dr. Hans Hass 

Expedition secretary Lottie Berl 

Expedition members Gerald Weidler, 

Leo Rohrer, Edward Wawrowetz 
Alfonso Hochhauser 
Sudanese recruits. ...... Mahmoud Amir 

Achmed Nur Mohamed, Ali O’Shelk, 

Abdul Wahab 


Columbia release of Hugo Haas (Rob- 
ert Erlik) production. Stars Cleo Moore, 
Hugo Haas, Mona Barrie. Written and 
directed by Haas; camera, Paul Iv;;no; 
editor. MerriU G. White; music, Vaclav 
Divina. Tradeshown, N. Y.* Sept, 26, ’52. 
Running time, SO MINS. 

Margo Cleo Moore 

Paul Marvan Hugo Haas 

Diana Mona Bame 

Carlo \ Rick Vallin 

June Karen Sharpe 

Shiner Marc Krah 

Yvette Genevieve Aumont 

Walter Patrick Holmes 

Mary Maura Mu rphy 

Douglas Brian O’Urra 

Investigator Anthony J ochim 

Dr. Tompson Dr. Ross Tompson 

Nurse Marla Blbilcoff 

Mr. LoweU Gayne Whitman 

Mr. Frim Roy Engel 

Jack Robert Knapp 


‘’Captive Women” is an elongated ; 
cliffhanger, a natural for juveniles 
on some dual bills. 

Story of three surviving branches 
of the human race, A.D. 2000 or 
after the last atomic blast has 1 laid 
New York City to waste, develops 
into a Buck Rogers sort of P adven- 
ture. All imaginative touches are 
kept hidden as the plot ploddingly 
relates the efforts of a New Jersey 
tribe to bear offspring who will not 
possess their -hideous facial fea- 
tures. It seems that the atomic 
blasts have scarred them for life. 
This yen to create a normal race 
results in raids on a subterranean 
tribe where the femmes are comely 
and desirable for , mating. From 
such a beginning, there is the 
familiar machinations of a third 
tribe to two-time them. The flood- 
ing of a tunnel under the Hudson 
river is the tipoff as to the absurd 
heights this reaches. 

Most of the acting is in the serial 
film tradition although Ron Randell 
occasionally shows himself as a 
first-rate actor. He is the hero 
Both Margaret Field and Gloria 
Saunders partially make up in 
looks for what they lack in terp 
ability. Robert Clarke, Stuart Ran- 
dall, Paula Dorety and Robert Bice 
head the large supporting cast, 
Stuart Gilmore’s direction is 
standard for this type of pie. Sharp 
editing by Fred R. Feitshans keeps 
it from getting too far put of hand. 
Paul Ivano has contributed a good 
camera job. Wear. 


Tropical Heal Wave 

(SONGS) 


Sol Lesser’s Thalia Productions 
has come up with an overlong 
documentary edited from footage 
lensed on a scientific expedition 
under the Red S.ea. When dealing 
with underwater action the picture 
has some interesting natural thrills, 
but #a contrived narrative and rep- 
etitious scenes slow the overall 
appeal and make the footage’s 67 
minutes long and frequently bor- 
ing. 

Dr. Hans Hass, director of Under- 
water Research Institute at Vaduz, 
Lichtenstein, headed the expedition 
to the Red Sea, where he tested 
theories dealing with fish' language, 
etc. Color would have dressed up 
and .done justice to some of the 
striking underwater footage. For 
thrill moments, picture has several 
sequences with sharks, extremely 
close photography of giant manta 
rays and the ride of a skin-diver 
on the head of a monster whale 
shark. 

Expedition recorded sounds 
which it presents as the language 
of deep-sea denizens and even 
staged a dance to show fish reac- 
tion to the strains of ‘‘The Blue 
Danube.” This sequence, as well 
as the rescue of the expedition’s 
femme member, after having been 
hit by a manta, and much of the 
narrative have a ‘‘fishy” feel and 
were seemingly used only In an 
attempt to build up scenic and 
dramatic values. 

Sight of the skin-divers, equip- 
ped with small cameras and oxygen 
anks, swimming in the Red Sea 
depths have interest. This is par- 
ticularly true of Lottie Berl, sole 
emme, who is a mighty fetching 
mermaid. However, these shots 
and those of the myriads of fish, 
coral reefs, etc., begin to bore after 
constant repetition. 

Narrative and the production su- 
pervision for Thalia were ’handled 
by Bill Park. He could have done 
better in both departments. Les 
Tremayne’s narration is too obvious 
in trying to read excitement into 
the lines. Robert Leo edited and 
Bert Grund did the score. Brog. 


down, and he experiences frustra- 
tion in attempting to obtain a taxi 
Settling on a bus, he pushes and 
is pushed, eventually ending up in 
a fight that causes him to lose the 
precious dress. Failing in his at* 
tempt to buy the garment of a 
neighbor’s child, he tries to get the 
church officials to delay the com- 
munion. However, his child finally 
makes it as the dress is delivered, 
traced by the dressmakers label. 

Fabrizi is fine in a difficult com- 
edy role as he shouts, exhorts and 
finally mellows as the egotistical 
father with the heart of gold. Miss 
Morlay, in an outstanding perform- 
ance, is his ever-loving, ever- 
patient wife who brings her hus- 
band to his senses with an unex- 
pected slap. Remainder of the cast 
also turns in top jobs. ' 
Ailessandro Blasetti’s direction 
gets most out of the comedy ele- 
ments, and Mario Craveri’s camera 
work rates a nod. Holl. 

Merry Wives ol Winilsor 

(GERMAN-MUSICAL) 

Central Cinema Corp. release of 
Deutsche Film production. Stars Sonja 
Ziemann, Camilla Spira, Paul Esser. 
Claus Holm. Directed by Georg Wild- 
hagen. Screenplay. Wolff von Gordon, 
Georg Wildhagen, based on William 
Shakespeare’s play and op«ira by Otto 
Nicolai; camera, Eugen Klagemann. Kurt 
Herlth. Att 55th St. Playhouse, N. Y.. 
starting Sept. 20, '52. Running time *2 

Frau Fluth Sonja Ziemann 

FraU Reich Camilla Spira 

Sir John Falstaff -Paul Esser 

Herr Fluth Claus Holm 

Herr Reich Alexander Engel 

Fenton * * • • • Eck&rt Dux 

Anna' Reich ... Ina Halley 

Herr Spaerlich Joachim Teege 

Dr. Cajus Gerhard Frlckhoffer 


thropic gold prospector who hates 
her on sight Conflict develops 
between the two as he trys to drive 
her away. She persists in staying 
and finally begins to love the coun- 
try. She wins over the brooding, 
occultist cynic to her side, but too 
late because he Is dying. She de- 
cides to stay and help the natives. 

Direction is“ rough and editing 
gives the film a choppy appearance. 
Story seems pretentious in its 
mystic illusions, but too many 
themes cause It to wander and 
results in many slow spots. Claire 
Maffei can not integrate her char- 
acter in the splotchy aspects of the 
film/ Alain Cluny, as the anguished 
social outcast, looks the part but 
lacks the dynamic drive to give the 
pRrt body. Lensihg gives the film 
some production assets. Mosk. 

Lo Seeieco Bianeo 
(The White Sheik) 
(ITALIAN) 

Venice, Sept. 16. 

PDC release of Luigi Rovere production. 
Stars Brunella Bovo, Alberto Sordi, Leo* 
poldo Trieste. Directed by Federico Fel- 
lini. Screenplay, Fellini, Tullio Plnelll 
from story by Michelangelo Antonioni, 
Fellini, Plnelll. Camera, Arturo Gallea, 
music, Nino Rota; editor, Rolando Bene- 
dettl. At Venice Film Festival, Venice. 
Running time, 105 MINS. 

Wanda Brunella Bovo 

Ivan . Leopoldo Trieste 

The White Sheik Alberto Soldi 


'’Strange Fascination” is another 
'*one-man” production from Hugo 
Haas. For he wrote, directed, 
produced Rnd -stars in this .Colum- 
bia release as in his previous ‘‘The 
Girl on the Bridge” and “Pickup.” 
Latest Haasian entry has a sordid, 
sexy theme in keeping with his 
earlier efforts. As. such it rates as 
a fine subject for exploitation 
houses but appears to have a spot- 
ty future in general release. 

This time Haas trains th 
camera on a European concert 
pianist whose career and charac- 
ter disintegrate after he meets 
.and weds_a buxom, blonde dancer 
Cleo Moore oh a U. S. tour. Mar- 
riage of pianist Haas is serene 
enough to begin with but by coin 
cidence shortly thereafter he’s 
plagued by bad luck. 

Haas’ ill fortunes comprise ina- 
bility to secure further bookings, 
reduction to penniless status and 
loss of interest in him by wealthy 
Mona Barrie, who sponsored his 
American tour. These blows are 
bad enough but the crusher comes 
when Miss Moore leaves the mid- 
dle-aged pianist for a younger man 
and at the same time an insurance 
company denies a claim injury to 
his hand. A stagey finale finds 
him giving a one-hand . concert in 
a Bowery meeting room. 

Despite some g o o d- - perform- 
ances; the cast doesn’t quite makj 
the script believable. Haas’ por- 
trayal of the concert artist is in 
the sympathetic vein. Miss Moore 
easily fulfills the physical demands 
of her role but fails short of meet- 
ing the thesping requirements. 
Miss Barrie, as the sponsor, car- 
ries on with a platonic spirit one 
would . expect a wealthy socialite 
to have. Rick Vallin, Karen Sharpe 
and Marc Krah, among others, 
provide fair support in lesser 
roles. 


Routine programmer with mild 
comedy and songs for lower- 
case bookings. 


Hollywood, Sept. 26. 

Republic release of Sidney Picker pro- 
duction. Stars Estelita; features Robert 
Hutton, Grant Withers, Kristine Miller, 
Edwin Max. Directed by R. G. Spring- 
steen. Written by Arthur T. Horman; 
Camera, John MacBurnle; editor, Harold 
Minter; songs, Sammy Wilson, Arthur T. 
Horman, Nester Amaral. Reviewed, 
Sept. 25, ’52. Running time, 74 MINS. 

Estellta Rodriguez Estelita 

Stratford Carver Robert Hutton 

Norman James Grant Withers 

Svlvia Enwright Kristine Miller 

Moore Edwin Max 

Frost Lou Lubin 

Ignacio Ortega Martin Garraiaga 

Dean Enwright Earl Lee 

Stoner .Lfcnnic Bremen' 

Stickey Langley Jack Kruschcn 


This Is mild-mannered program- 
mer entertainment. Estelita stars 
and the material is the type of 
frantic romantics usually supplied 
her in these low-budgeters by Re- 
public. 

As usual, plot has her newly ar- 
rived from Cuba and singing in 
her uncle’s New York nitery. Grant 
Withers is a, mobster who moves in 
on the uncle as a forced partner 
who threatens to take care of the 
singer if he is not given a piece of 
the club. Robert Hutton, as a 
young professor working up case 
histories on criminals, becomes the 
target of Estelita’s romantic in- 
clinations, poses as a hood himself 
with her help, and there are a lot 
of chases and impossible situations 
thrown into the plot before the 
fadeout clinch, 

Estelita sings three tunes dur- 
ing the course of her nitery stint 
They are “My Lonely Heart and 
I,” by Sammy Wilson and Arthur 
•T. Horman; “I Want to be Kissed,” 
by Wilson and Nestor Amaral, and 
“What Should Happen to You,” by 
; Wilson. None is impressive. Mate- 
’ rial is against the star, as it is 
Haas guided the entire film in a against the other players. Kristine 


Father’s Dilemma 

(ITALIAN) 

Arthur Davis Associates releaso of 
Franco-London production (Salvo D'An- 
gelo). Stars AIdd Fabrizi,' Gaby Morlay. 
Directed by AUessandro Blasetti. Story 
and screenplay, Cesare Zavattini; camera, 
Mario Craveri; music, B. Gigognini. Pre- 
viewed in New York, Sept. 19, '52. Run- 
ning time. 8t MINS. 

Mr. Carlonl Aldo Fabrizi 

Mrs. Carloni Gaby Morlay 

Carlonl's Daughter . . . Adrlanna Mazzottl 
The pretty neighbor ..Ludmilla DudaroVa 

Man in the derby Enrico Vlarlslo 

Man in the taxi Jean, Tissier 

The Archbishop Luclen Baroux 

Carlonl's maid Laura* Gazzolo 

Limping man Max Elloy 

Italian Patriot Ernesto Almirante 


(In German ;English Titles) 

Among the most successful Ger 
man pictures, in the U. S., pre- 
Hitler, were the musicals, and 
“Merry Wives of Windsor” should 
resume this type of boxoffice pop- 
ularity. This opera film is well 
sung by the dubbed voices of well 
known German operatic singers, 
with a fine cast of German and 
Austrian actors. Pic shapes up as 
a strong entry for some arty houses 
and German-languge theatres. 

This is the Shfakespearean' story 
of Falstaff (Paul Esser), his love 
of wine and comely femmes. The 
familiar tale about two wives wh o 
punish him for his flirtations is 
related with more than usual ac- 
tion for an opera. 

Director Georg Wildhagen has 
i aintained an even pace between 
the spoken plot and actual ballad- 
ing; hence the picture is not 
weighted with too much music. At 
the same time he has not over- 
looked the best-known arias and 
music. Wildhagen also has not for- 
gotten the sex angle, with the 
beauty of Sonja Ziemann never 
neglected by the camera. 

One of the outstanding voices, 
Rita Streich, sings the Ziemann 
role. Miss Ziemann, besides be- 
ing comely by Hollywood stand- 
ards, also is capable as Frau Fluth, 
one of the Windsor wives. Camilla 
Spira, as the other wife figuring 
n the conspiracy with Frau Fluth, 
also does well. Martha Modi is her 
singing voice. 

Vet German actor, Esser man- 
ages to steal many scenes. Hans 
Kramer has his singing role. Ina 
Halley, as the younger girl in love 
with Eckart Dux, is attractive in 
lesser part while Dux upholds 
the. male side of the romance. Hel- 
mut Krebs vocalizes for him. Claus 
Holm, Alexander Engel and 
Joachim Teege also do well In 
their supporting roles. 

Camerawork of Eugen Klage- 
mann and Kurt Herlth is especially 
good on closeups. Wildhagen's di- 
rection is another strong credit. 
The Berlin State Opera orch neatly 
plays the music. Wear. 


(In Italian; English . Titles ) . 

Italian entry, winner of an award 
at the 1950 Venice Film Festival, 
is a frequently amusing comedy 
that misses clicking completely be- 
cause of a forced attempt to pour 
laugh situations on a tenuous story. 
The film’s prime purpose, how- 
ever, is a study of manners and 
characters, and as. such has enough 
plus-elements to make it a good 
contender on the art house circuit. 

Film’s names include scripter 
Cesare Zavattini, of “Bicycle Thief” 
fame, plus an Italo-Franco . cast 
headed by Aldo Fabrizi, remem- 
bered for his portrayal of the priest 
in “Open City,” and Gaby Morlay, 
the French star. ^ • 

Basic theme is the loss of the 
first communion dress of a little | 
girl, who waits at home in tears as 
her father races about the city 
attempting to retrieve the garment. 
Father, As portrayed by Fabrizi, is 
a self-centered, prosperous confec- 
tionery store owner who bullies his’ 
wife and employees, makes eyes at 
pretty women and expects the 
world to cater to his wishes and 
whims. 

The adventure of obtaining the 
dress from the dressmaker turns 
into a nightmare, as he is harrassed 
by traffic policemen, his car breaks 


Film’s main values lie in its 
spoof of the phony world surround* 
Ing the soap-opera stories which, 
printed in serial form, have thou- 
sands of faithful readers every 
week in Italy. Combined with pic’s 
other laugh values, it should in- 
sure a healthy boxoffice future at 
local runs, but will also lessen the 
chances in the U! S. where the 
genre is less wellknown. 

Film is overlong and uneven, but 
filled, with, intelligent humor of 
the tongue-in-check brand. 

It tells of the Rome adventures 
of a smalltown girl on her honey- 
moon who becomes involved with 
a group of people “shooting” one 
of the photo-strip adventures star* 
ing her hero, the White Sheik. 
Visit affords audience a good look 
behind the scenes of their favorite 
adventure-makers, involves the girl 
in an uproarious love-affair with 
the Sheik, and eventually brings 
her back to her dull but sound hus- 
band. The Sheik, it develops, is a 
henpecked ex-butcher’s assistant. 

Brunella Bovo (“Miracle in 
Milan”) stars as the girl, Alberto 
Sordi delightfully overplays his 
role of the Sheik and Leopoldo 
Trieste is fine as the husband. 
Production values are modest but 
adequate. Nino Rota’s music does 
much to key action. Direction 
by Frederico Fellini of his own 
script, his first megging job on his 
own, is uneven, but shows 
promise. Hawk. 


Les Conquerants 
Solitaires ... 

(The Solitary Conquerors) 
(FRENCH) 

Venice, Sept. 9. 

Seine Productions release and produc- 
tion. Stars Claire Maffei, Alain Cluny. 
Written and directed by Claude Vermorel. 
Camera, Jean Bourgoln. At Venice Film 
Festival, Venice. Running time, 91 MINS. 

Therese Claire Maffei 

Pascal Alain Cluny 

Bernard Andre Simon 

Paul P. Chatin 

Raphael Raphael Ambcngat 


Facundo, El Tlgre tie 
Los Llanos 

(Facundo, Tiger of the Plains) 
(ARGENTINE) 

Buenos Aires, Sept. 9 . 

Guaranteed release of Dave Caboull’e 
production. Stars Francisco M. AUende. 
with. Zoo Ducos, Felix Rivero, Miguel 
Beban, Jorge Molina Salas, Pascual Naca- 
rati, Hugo Mujlca, Mario Cozza. Directed 
by Miguel P. Tato. Carlos Borcosque. 
Sttory, Antonio Pages Larraya; editor. 
Leopoldo Torre Nilsson; camera. Bob 
Roberts; songs, Alberto Amor. At Ocean 
Theatre, Buenos Aires. Running time 
MINS. 


15 


This was filmed, entirely in the 
African bush. Profusion of murky 
symbolism and philosophy has 
missed "the color and flavor of the 
story. Erratically directed and 
acted, this exerts some -force in \ 
scenes of primitive rituals and na- 
tive dances. Film’s combo docu- 
mentary and dramatic aspect could 
slant this for some specialized U.S. 
slotting, but overall downbeat as- 
pects and plodding dramatic level 
militate against this for most, situa- 
tions. 

Story concerns a well brought-up 
girl who goes to the African bush 
to sell the property of her recently 
deceased father. She finds that the 
great house is a veritable shanty 
and the great woodlands unsale- 
able unless a road is built to civ- 
ilization. Her neighbor is a misan- 


Any film critic who launches out 
as a director is sticking his neck 
out for retaliation from those who 
formerly took the knocks from 
him. Miguel P. Tato (15 years ago 
“Nestor’’ of the tabloid El Mundo 
and not friendly to Hollywood) 
perhaps has avoided this pitfall by 
sharing direction honors with Car- 
los Borcosque, who was called in 
when it looked as though the pic- 
ture never would be finished. Film 
will do better in the U.S. than most 
Argentine pix, especially for juve- 
nile audiences. 

Director, who allied himself with 
the Nazi cult during the last war, 
has slanted this historical opus, 
depicting Facundo Guiroga, a 
henchman of dictator Rosas* as a 
well-meaning patriot despite his 
violence. This slant ties in with the 
present regime’s view of history. 

Aside from this ideological twist, 
the picture succeeds as entertain- 
ment because there is plenty of ac- 
tion and some suspense. This 
makes it a good bet for the juve- 
nile market. 

The script has Facundo Quiroga 
on a legendary stagecoach ride 
Trom the capital to the distant 
province of Santiago del Estero, 
charged with a secret mission from- 
Rosas to unify the northern prov- 
inces of Salta and Tucuman, to 
avoid another war. The envoy must 
evade attempts by enemies to pre- 
vent his getting through. On the 
return drive, the enemies catch up 
with him and murder him in ah 
(Continued on page 23) 


Wednesday, October 1, 1952 


PBSSffir r 


riCTUHES 


23 


Film Reviews 


«W 


Continued from page 22 


Fsii»un«Io, B1 TIgro de 
Los Llanos 

ambush which has impressed itself 
on succeeding generations because 
of its stark' barbarism. 

The famous drive is faithfully 
transferred to the screen via Bob 
Roberts’ lensing. Otherwise the 
technique is corny; particularly the 
fade-out into the flashbacks as well 
as sequences showing Facundo pre- 
sumably jolting, along as he broods 
over his wrongs. Gaucho costuming 
is interesting, but to the experi- 
enced eye full of anachronisms 
which escaped the director. Other 
costumes denote low budgeting. 

Francisco Martinez Allende han- 
dies himself conscientiously as 
Facundo, but is far too refined to 
convince as the terrible "Tiger,” 
whose eyes were reputed to have a 
hypnotic effect. Zoe Duco is un- 
believably wooden as Severa Willa- 
fane, but Felix Rivero, the one- 
eyed coachman, is outstanding as 
to makeup and authentic acting. 

There are some typical native 
dances and Alberto Amor gives 
with some gaucho sings and gui- 
tarre playing. 

The whole is just good enough 
to suggest what a great picture it 
could have been made, but no- 
where good enough to be described 
as anything but mediucre-.-The pic-- 
ture has started out exceptionally 
at the boxoffice. 


£1 II olio z© De Soledad 

(Soledad’s Shawl) 
(MEXICAN) 

Venice, Sept. 9. 

STPC release and production. Stars 
Arturo De Cordova, Pedro ArmcndarJz, 
Kslella Linda. Directed by Roberto Gaval- 
don. Screenplay, Jose Revueltas, Gaval. 
don: camera, Gabriel Figueroa; editor, 
Salvador Lozano. At Venice Film Festi- 
val, Venice. Runping time, 115 MINS. 

Alberta Arturo De Cordova 

Rocco Pedro Armendarlz 

Soledud Estelle Linda 

Priest Domingo Soler 

IWauro Carlos Monctzuma 

David e James Fernandez 


This is a colorful, literary tale 
of a doctor fighting . ignorance and 
custom in a small, primitive Mexi- 
can town. Full of incident, na- 
tional flavor and blessed with top 
technical and thespian work, this 
is a natural for the Spanish lan- 
guage circuits. If the talky spots, 
which do nothing but philosophize 
on the action are sheared, this 
might have the appeal for some 
American ai^y spots. There is 
some marquee appeal in Arturo De 
Cordova and Pedro Armendariz. 

Story is told in flashback as a 
country doctor comes back to the 
city to start a new life. His past 
in a small town Is unfolded. Here 
lie fights a constant battle with 
ignorance, superstition and pov- 
erty. He decides to stay on after 
a dramatic teacher operation to a 
save a boy’s arm and his sister, 
Lstella Linda, becomes hi* servant 
in gratitude. The medico decides 
to marry the girl but she is sought 
by Pedro Armendariz lusty land- 
owner, who finally seduces her. 
She becomes pregnant and the doc- 
tor marries her. However, she 
runs off with her seducer, now a 
hunted man. The doctor realizes 
his place is at the side of the peo- 
ple and not in a hospital. 

Roberto Gavaldon has directed 
with fme pictorial flair. The lens- 
jng of Gabriel Figueroa is of a 
tush, contrasty feeling peculiar to 
Mexican films. Arturo De Cor- 
dova is fine as the humane doctor. 
Armendariz gives spirit and excite- 
ment to his role of Rocco. Miss 
+1 - beautiful and moving as 
the ill-fated Soledad. Remainder 
ol cast is fine. 

Although the pic has its con- 
ventional aspects, its wealth of de- 
1 1 and feeling could give this a 
chance in the U. S. if properly 
h >P°cd. Mosk. 



"tmomr nunc *m- 

Rockefeller Center 

MARIO LANZA i, 
BECAUSE YOU’RE MINE" 

i n,r i d “2 n| bo «tta MORROW 


tmrm 

w«Mfr 


Monsieur Taxi 

(FRENCH) 

Paris, Sept. 16. 

Pathe Consortium release of PAC-Pathe 
Cinema production. Stars Michel Simon. 
Directed by Andre Hunebelle. Screen- 
play, Jean Halaln; camera, Paul Cotteret; 
editor, Jean Feyte. At Ralzac, Paris, Sept. 
1G, '52/ Running time. It MINS. 

Pienre Michel Simon 

Georges Roland Alexandre 

Lill .....Monique Darbaud 

Louis Jean Brocliard 

Aunt Jane -Marken 

Florist Jean Carmct 


"Monsieur Taxi” is a slight tale 
about the life of a Paris cabbie. 
Although fiUed with some amusing 
bits and affable types, it falls into 
a conventional rut and soon wears 
out the originality of its theme. 
The name of Michel Simon and 
the look-see at the Paris streets 
and types may get this by in a few 
special U. S. spots. 

Taxi driver, Michel Simon, lives 
his modest life carting people 
around Paris, yelling at policemen, 
guzzling his daily quota of wine, 
and trying to make financial ends 
meet on his limited income. One 
day he finds a lot of money in his 
taxi. He fights with his conscience 
as to whether to find the owner or 
not. Here pic falls into a familiar 
groove as the pic complications 
come to a head. Secondary angle 
of his son being secretly engaged 
to a chorine and a snoopy police- 
man brother-in-law fill the re- 
mainder of the film. 

Direction by Andre Hunebelle 
is adequate, taking advantage of 
the usual Gallic types to forward 
the yarn. Simon is fine as the 
vociferous, kindly taxi man. Ro- 
land Alexandre is appealing as the 
son while Monique Darbaud does 
•the chorus gal 'well. Others in the 
cast are adequate with Jean 
Brochard fine as the stuffy cop 
brother-in-law. Lensing is good 
in interiors but. flat otherwise, 
losing some appeal of the in- 
triguing Paris streets. Mosk. 


Deke flylesworth 


Continued from page 2 


chairman of the Colorado Public 
Utilities Commission and in 1918 
was drafted to head the Utah 
Power & Light Corp. A year later, 
he was brought to N. Y. to become 
managing director of the National 
Electric Light Assn., helping to re- 
organize that Arm. 

When the NBC network was cre- 
ated Nov. 15, 1926, Aylesworth was 
tapped to become its first prexy 
and instituted several major poli- 
cies which are still followed by the 
web. From that time until he re- 
signed in 1935 to be succeeded by 
Lennox H. Lohr, he was variously 
tagged the “czar of radio” and 
"high commissioner of the air.” 
Upon his resignation to devote his 
full time to the RKO interests, he 
was named a vice-chairman of NBC. 

Besides being prez and board 
chairman of RKO, he served in a 
similar dual capacity for RICO-Ra- 
dio Pictures and Pathe News, as 
well as a director of Keith-Albee 
and the B. F. Keith Corp. until 
March 1, 1937, when he joined 
Scripps-Howard. He was also board 
chairman of Radio City Music Hall 
Corp. from 1934-45, and from 1941 
to ’45 was an exec consultant to the 
Coordinator of Inter-American Ac- 
tivities. 

At his * death, Aylesworth was 
chairman of the executive commit- 
tee of Ellington & Co., ad agency, 
and served as an advisory consul- 
tant to Mrs. A. I. duPont (for the 
annual duPont radio awards) and 
to Cities Service, where he spark- 
plugged the lpng- tenured "Cities 
Service Bands of America” show 
on NBC. His wife, a son and 
daughter survive. 

Serviced in New York at Camp- 
bell’s next Friday (3) at 11 a.m. 


Museum’s Rental Setup 

Film library of the Museum of 
Modern Art, N. Y., has issued a 
new listing of circulating film pro- 
grams available for rent' to edu- 
cational Institutions and film so- 
cieties throughout the country. 

oAome 269 titles listed, 16 films 
are made available for the first 
time. Any non-commercial organi- 
zation or group may rent the pro- 
grams, which are arranged in 12 
series designed to provide a pro- 
fessional review of film history 
since 1895. During the library’s 16- 
year existence, nearly 2,000 Institu- 
tions and groups have rented prints 
from it. 


Judge 20th’s Contest 

Four ad-pub chiefs of top nation- 
wide circuits will judge 20th-Fox’s 
$7,500 showmanship contest for 
"Something for the Birds.” Quartet 
includes Ernest Emerling' of 
Loew’s Theatres, Warner Theatres’ 
Harry Goldberg, RKO Theatres’ 
Harry Mandel Imd Schine Thea- 
tres’ Seymour L. Morris. 

They’ll select winners from 
hundreds of campaigns to be sub- 
mitted starting with release of the 
film in October and running 
through Jan. 31, 1953. String of 
prizes will be headed by a $1,000 
defense bond. Awards are offered 
for the best and most productive 
ad-pub-exploitation campaign on 
the picture. 


fr 


Denver Critic 

Continued from page 13 


they did, no matter how far and 
fast they had to travel, how tired 
they were when they got there, 
how red the sun made their noses. 
They did it all with a real smile, 
not a frosty one. And the smile 
didn’t leave. their faces while they 
were enroute and out of sight of 
the potential customers of the box- 
office. 

3. Because they were human and 
democratic, the men and women, 
boys and girls at the forks of the 
creek didn’t feel that they were 
being patronized. This was a chatty 
crew we had with us. Anyone can 
talk tb them and everybody did. 

The banker who is president of 
the chamber of commerce in a 
town of 5,000 population talked 
politics with Chill Wills. The dean 
of a . stage college was gallant to 
Una Merkel. J(ohn Agar met some 
of his wartime buddies. Barbara 
Ruick had a long talk with a man 
in Grand Junction who went to 
school in the third grade in Ari- 
zona with her mother, radio actress 
Lurene Tuttle. 

Wherever they went they added 
respect to the admiration which 
they had already earned. They 
gave everyone a true picture of 
the picture industry and the peo- 
ple who work in it, people who 
are not really different from every- 
one else except that they have a 
specialized skill that is required 
for a specialized job. 

"Movietime” can stand improve- 
ment, as what can’t. But just as 
it stands, it has the right approach, 
uses the right people, sells pic- 
tures in the right way, wins friends 
and influences people. When it 
gets the support, financial and 
otherwise, of everyone in the in- 
dustry, it will grow Into the finest 
public relations program ever 
staged by any industry anywhere. 1 

Alex Murphree 
Denver Post Drama Editor 


Record Spectators 


Continued from page 4 


reportedly insured for this con- 
tingency and whether or not it 
will be required to pay TNT the 
guarantee hasn’t been worked out 
yet. 


Scalping In Richmond 

Richmond, Va., Sept. 30. 

Walcott-Marciano fight telecast 
at the National not only played to 
a sellout in the T, 350-seat housp, 
but the event brought about the 
first instance of ticket scalping 
locally. With all seats sold out at 
around 11:30 a.m., on a straight $3, 
unreserved basis, several specula- 
tors worked the crowd outside the 
theatre shortly before showtime. 
Theatre manager states that he 
knew of some instances in which 
$10 to $15 were paid. About one- 
third of the audience came in from 
out-of-town. 

National had established outlets 
at the Granby and Norva Theatres 
in Norfolk, but had to stop sales 
there the day before the fight In 
order to take care of local pur- 
chasers. The telecast was handled 
exclusively by the National, a 
Fabian house, although the Byrd, 
belonging to the Neighborhood 
Theatre chain, also is equipped 
with big-screen TV facilities. 


Indpls. Sellout 

Indianapolis, Sept. 30. 

First theatre network TV here 
got a smash sendoff when capacity 
audience of 3,200 , paid $2,50 per 
head to see Walcott>Marclano fight 
at the Indiana. Manager A1 Hen- 
dricks said about 4,000 would-be 
customers were turned away after 
last tickets were sold at 6 p.m. 
fight night. 

All first-rifn houses reported biz 
up over preceding night (Monday) 
and same night (Tuesday) of pre- 
ceding week, attributing boost to 
overflow from Indiana. 


and with a warning advertisement 
in the local Knickerbocker News, 
undoubtedly stopped a large-scale 
presentation of fake stubs at the 
Grand. Only two were picked up 
at the door, where five revenue 
agents were stationed with 10 Al- 
bany detectives and uniformed 
policemen. FBI agents were re- 
ported investigating the forged 
printing, which constitutes a 
felony under Federal law. 

Schenectady is said to have been 
flooded with the non-genuines, 
sold at-$2 apiece. Press, radio and 
TV news roundups broadcast the 
warning. 


Series Coverage 


Continued from page 1 =-== 


Toledo SRO 

Toledo, Sept. 30. 

The Rivoli reported a full house 
for the TV showing of the Mar- 
ciano-Walcott bout, with advance 
sales heavy. For the Robinson- 
Maxim fight, first theatre TV here, 
the Rivoli was about two-thirds 
full. Admission for last week’s 
bout was $3. 


McCarthy Names 


Continued from, page 5 


unified move of any kind might 
still be open to legal hassles. 

Difficulty at present is that 
while large companies like Metro 
and 20th-Fox can afford to cut flow 
of pix to an exhibitor until he has 
paid up, smaller companies are in 
a different position and may well 
find the theatreowner turning 
around and filling product hole 
from other sources, which would 
have no hesitancy serving him. 

Exhibitors’ outstandings vgry by 
company and territory. Period of 
from 20 to 60 days is considered 
normal for delay in forking «over 
cash rentals. 20th-Fox, for in- 
stance, finds average outstandings 
in France at five weeks, in Italy, 
one week, and Germany, two 
weeks. While Fox relations with 
exh i s are normal, Columbia is 
having trouble in ihese territories. 
Fox, on other hand, is having dif- 
ficulties in Brazil, where rentals 
may be outstanding six to eight 
weeks. 

20th-Fox exec this week observed 
that Brazil exhibs like to stall on 
payments. "That’s how they finance 
their business,” he . said. “They 
build ,up a real octopus against 
you.” 

American aistribs are having no 
difficulties with exhibitors out- 
standings in England, India and 
Australia. British Kinematograph 
Renters Society takes poor view of 
exhibs owing large sums to dis- 
tribs for long periods of time, and 
the guilty theatreman finds him- 
self without product. 

Spokesman at Universal differed 
with the Columbia view that the 
situation is becoming serious for 
the entire industry. 


Dayton Turns Away 500 

Dayton, Sept. 30. 

More than 2,700 fans jammed 
RKO-Keith's for the Marciano- 
Walcott bout, with Goody Sable, 
manager, estimating at least 500 
were turned away. Admission was 
$3 a head. 


9G Omaha Gross 

Omaha, Sept. 30. 

Marciano-Walcott fight TV at 
Orpheum here was a sellout de- 
spite rain scare (top head in eve- 
ning paper), Nixon speech and 
pickets. 

Bill Miskell of Iri-States 'said 
gross was $9,000 for 3, 000-^eater, 
scaled at the national minimum of 
$3. Net is around $1,800. Ad- 
vance sale, as in past TV fights, 
was slow, but crowds jammed b.o. 
after Nixon’s speech the same 
night. 

Police had little trouble moving 
the pickets, men carrying signs 
Such as: 

“Why pay three when you can 
see it free.” 

"If you pay now, you’ll always 
pay.” 

Said Miskell: "Heck, I’d have let 
them in free. But the next time 
there’d have been a thousand -show 
up.” 


Albany's Fake Tlx 

Albany, Sept. 30. 

An unexpected potential loss in j 
receipts — via counterfeit tickets — 
showed up for the Marciano-Wal- 
cott bout before a capacity audi- 
ence, at $3.60, in the 1,500-seat 
Fabian Grand. Fortunately, Guy 
A. Graves, Fabian city manager in 
Schenectady, spotted five counter- 
feits there the previous day. He 
immediately announced that per- 
sons who had ' bought tickets for 
the closed-circuit presentation at 
any place., other, than Fabian the- 
atres in Albany and Troy, and at 
Proctor’s, Schenectady, "probably 
have counterfeits.” 

This statement, coupled with the 
news that Internal Revenue agents 
would be on hand at the Grand-r- 
because of the 20% tax the Fed- 
eral Government stood to lose— 


age will duplicate those used in 
the 1951 Series. 

With Gillette Safety Razor spon- 
soring at an estimated cost of $1,- 
500,000 for radio and TV rights,' as 
well as air time, Series will be car- 
ried on the more than 550 Mutual 
AM stations. Full complement of 
NBC-TV affiliates will air the vid- 
eo pickup, as well as the four TV 
stations affiliated with the Mutual 
web, including those in New York, 
Boston, Chicago and Los Angeles. 
With an estimated 18,000,000 video 
sets now spotted around the coun- 
try, it’s believed the Series could 
play to more than 54,000,000 view- 
ers. 

Top Sportscasters 

Gillette and the Maxon agency, 
which handles the account, have 
lined up what is probably the top 
array of spprtscasters ever to bring 
radio and TV audiences a play-by- 
play of the games. On TV, Mel Al- 
len, who’s covered the N.Y. Yan- 
kee games during the regular sea- 
son; and Red Barber, who’s han- 
dled the Dodger games, will split 
the play-by-play chores. For radio, 
the announcers include A1 Heifer, 
who’s called Mutual’s "Game of 
the Day” this year; Jack Brick- 
house, of Chi, who Was on the TV 
end of last season’s Series, and Bill 
Corum. Latter will do the color 
commentary before and after each 
game. 

While the TV versions will go 
out on the NBC video outlets, the 
local station crews which handled 
the two flag-winning teams during 
the season will repeat for the Se- 
ries. Thus, Jack Murphy of the 
N.Y. Daily News’ WPIX will head 
a WPIX crew on games played at 
the Stadium, while Ralph Giffen 
of WOR-TV, Tom O’Neil's local 
N.Y. outlet, will call the shots with 
a WOR-TV crew. 

Giffen will work with four cam- 
eras, one stationed behind home 
plate for the pitcher-batter-umpire 
cover shot; one behind first base, 
another behind ,third, and the 
fourth to be used for super-imposi- 
tion Shots. Giffen also has two 
Zoomar lenses available, for the 
zooming closeup shots to the out- ’ 
field, plus a 40-inch Reflectar lens. 

Murphy plans to use five cam- 
eras,- which is one more than he 
used during the regular season. 
He’ll have two behind the plate, 
one behind first base, another be- 
hind third, and the fifth camera 
for commercial spots, super-im- 
positions and the super of the'play- 
ers’ names each -time they come to 
bat, a technique which he intro- 
duced this year. Murphy will also 
use two Zoomars, and will rely 
whenever possible on his * "wipe” 
effect — the split-screen technique 
used to cover a base-runner and 
the batter simultaneously. 


SATTLER'S 

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24 


XTCTIJIMGS 




Wednesday, October I, 1952 


* ■!■♦ MM M - M - M M * - H MMf-M-M ♦ ■ » >HH» H»H4 | 

Clips From Film Row 

■ » » ♦ I » ♦ I M j 4 MtMH - fjft 


NEW YORK 

J. Milton Salzburg, head of Pic- 
torial Films and Cornell Film Co., 
sailed on the Queen Elizabeth yes- 
terday (Tues.) for a live-week trip 
through Britain and Europe with a 
view toward forming an overseas 
‘product ion unit- for- theatricat-and-l 
TV distribution. 

Foreign film distributor Arthur 
Davis garnered a plug Monday (29) 
when “Ask the Camera,” a quiz 
show on WNBT, N. Y., aired 12 
minutes of excerpts from his 
French import, “Beauty and the 
Devil.” 


OMAHA 

The Paramount here is slated to 
remain shuttered all winter. Tri- 
states will continue a film policy at 
its Orpheum and Omaha. >The Par 
will be open to legit and special 
events. 

Dee Butcher, vet of the last war, 
now attending Nebraska U, pur- 
chased the Peru, Neb., Theatre 
from Martin Hjeuer of Auburn; re- 
tains Gilbert West as manager. 

Star-Lite Ozoner at Chadron, 
Neb., opened under temporary per- 
mit jpendiHg final "decision - for- 
permanent license by county com- 
missioners. 


BOSTON 

Arthur Eosenbush, formerly 
drive-in booker for Daytz Bros. 
Theatre Enterprises, joined Smith 
Management Co. as manager of 
Gorman and St. George, Framing- 
ham. 

New England Theatres Corp, re- 
opened the Harvard, Cambridge, 
Fields Comer in Dorchester; the 
Strand in Somerville, and the 
Olympia, Lynn and Merrimac Sq. 
in Lowell. 

Nat Hochberg took over lease of 
Stoneham Theatre, Stoneham, 
from David Hodgon’s Princess 
Amus^Co. , 


PITTSBURGH 

Bernard H. Buchheit, with the 
Manos circuit for last 18 years, 
resigned as a district manager. 
Buchheit had operated houses in 
the south before coming to West- 
ern Pennsylvania in 1934 and leas- 
ing a theatre in Monongahela, 
which he operated for a year before 
going with Manos. 

Roscoe, Pa., theatre acquired un- 
der lease by Joseph P. Caputo of 
Belle Vernon. , 

With the resignation of David 
Brown as Screen Guild sales rep| 
Hymie Wheeler becomes salesman 
at large for this area. Wheeler’s 
now covering the Erie territory, 
the Main Line and the West Vir- 
ginia. 

Harry Bernstein, formerly with 
WB in Ambridge and later down- 
town at the Art Cinema for a brief 
time, appointed manager of WB 
Strand in Oakland; succeeds Rube 
Harris, who transferred to chain’s 
Etna. 

John Walsh, manager of Shea’s 
Fulton, released from Shadyside 
after spending several days there 
having a back ailment checked on. 

Two new drive-ins just opened 
in West Virginia, the Jur at Whites- 
ville, owned by Joe Raad, and the 
Ritchie at Ellenboro, owned by 
Perry Drey and managed by Jim 
Vogeding. 


MINNEAPOLIS 

Farewell testimonial dinner ten- 
dered A1 Anson, Minnesota Amus. 
Co. northern Minnesota, district 
manager, who is retiring after more 
than 35 years with the circuit. 

Drivein theatres throughout ter- 
ritory starting to shutter following 
fortnight of cold weather. 

Jimmy Eshelman, formerly with 
St. Paul Paramount and one-time 
Paramount city manager in Buffalo, 
N. Y., new manager of Bennie 
Berger’s loop firstrun Gopher the- 
atre, succeeding veteran showmqn 
Gordon Rydeen, resigned. 

M. A. Levy, 20th-Fox district 
manager, off to give onceover to his 
St. Louis, Kansas City and Des 
Moines branches. 

Drivein theatre owners here ask- 
ing for pro-rata of the ozoner music 
fee schedule because outdoor 
stands in this territory average 
only five operating months per 
year. 

Two Minneapolis newspaper re- 
porters along with three in Cincin- 
nati and one each in St. Paul, 
Columbus and Dayton were called 
by Joan Crawford on long dis- 
tance telephone from Hollywood 
as promotion stunt for “Sudden 
Fear,” now. at the RKO-Orpheum 
here. She asked their firsthand 
opinion of pic. 

Rube Specter closed the Roxy, 


nabe theatre, and is opening a 
sports goods store. 

Bob Karatz, circuit owner, now 
managing his Stevens Point, Wis., 
ozoner. 

St. Paul Lyceum, downtown indie, 
used a unique method to acquaint 
the public with its new synchro- 
screen.— Theatre- invited- everybody 
to be its guests all day “to see a 
free film on the new screen.” 

North Central Allied has started 
a campaign for lower film rentals. 
Citing figures which it declares 
call for such reductions, the in- 
dependent exhibitor body in its 
current bulletin asks members to 
“remember these figures” when 
they deal with the film companies. 
The figures cited are the “rec- 
ord-breaking $135,000,000 which 
distributors will gamer from for- 
eign rentals” and the just-issued 
U. S. Commerce Department 1948 
statistics showing that 12% of 
American theatres grossed less 
than $10,000, 19% between $10,- 
000 and $25,000, and 24% between 
$25,000 and $50,000, 

ST LOUIS 

W. R. Rodell relighted his Alvin, 
a_400-seater, Athens, 111. 

Sain S.“ MarsKalI7 Tamarda, 111., 
lighted his new 400-car ozoner near 
Benton, 111. 

The Frisina AmUs. Co., expects 
to darken its ozoners near Hanni- 
bal and Mexico, Mo., Keokuk, la., 
and Litchfield, Effingham and 
Taylorville, 111., Oct. 16. 

James Rust of National Theatre 
Supply Co. here' back in a local 
hospital suffering from complica- 
tions. 

J. V. Walker resigned as man- 
ager of Roxy, Fox Midwest house 
in West Frankfort, 111. He formerly 
managed a Fox Midwest theatre 
in Marion, 111. 

Resumption last week of china- 
ware giveaways as boxoffice hypo, 
dormant in St. Louis and St. Louis 
county for five years, by two units 
of Fred Wehrenberg Circuit is ex- 
pected to touch off a wave of such 
biz gimmicks in the area. The 
houses are the Michigan, south St. 
Louis and Studio in Pine Lawn, a 
suburb. 

Frisina Amus. Co., Springfield, 
111., one of largest owner-operator 
of film houses in the midwest, last 
week added t6 its holdings through 
purchase of three houses in Mat- 
toon, 111., from Ed F. Clarke, vet 
exhib„ who had a working agree- 
ment with Frisina in operation Of 
houses for years, now is retiring. 
Houses in the deal are the Clarke, 
Mattoon, and the Time. 

los'angeles 

Abner Greshler acquired U. S. 
distribution rights to four British- 
m a d e pix, “Emergency Call,” 
“Love’s a Luxury,” “M a d a m 
Louise” and “Paul Temple Re- 
turns.” 

For first time in its history Walt 
Disney Productions will function 
as sales representative for an in- 
die film company, handling world 
sales of “Never Wave at a Wac” 
for Independent Artists. 

Harold Schwarz, Realart’s Dal- 
las distributor, in town for huddles 
with Jack Broder about the open- 
ing of “Battles of Chief Pontiac” 
in the southwest territory. 

Robert L. Lippert acquired dis- 
tribution rights to “Spaceways,” 
science-fiction yarn by Richard 
Landau, to be filmed in England 
with an American as male lead. 


PHILADELPHIA 

Ben Blumberg, manager of 69th 
St. Theatre, elected head of the 
Warner Club. Jack Goldman, man- 
ager of Center Theatre, named 
veepee in charge of entertainment. 

Ralph Banghart, who formerly 
flacked RKO product in this area, 
joined the Disney promotion staff. 

Herman Comber, former man- 
ager of the Colonial, Germantown, 
is new manager of Earle, Warner 
vaude-filmer. 

George Balkin, ex-manager of 
WB Stanley, has quit the industry 
to go into the toy biz. 

Jack Harris, of American Film, 
named commander of Variety Post, 
No. 713, American Legion; and 
Norman .Silverman, Republic Pic- 
tures branch manager, is new vice- 
commander. Mrs. Betty Brown is 
first prexy of the post’s newly 
formed ladies auxiliary. 

WB first-run Aldine, closed since 
June for annual summer shutdown, 
reopens Oct. 10 with “The Thief.” 

Mario Lanza will receive one of 
two Pennsylvania Week commerce 
and industry awards to be made at 
a dinner in Bellevue Stratford, Oct. 
10. Other award goes to Walter S. 
Franklin, Pennsylvania Railroad 
president. 

World preem of “Everything I 
Have Is Yours” being held at 


William Goldman’s Randolph The- 
atre, Oct. 1. 

Bill Israel, former manager of 
the Earle (Warners vaude-filmer), 
will manage the Savar in Camden, 
N. J., for Varbalow Bros. 

The Fox outbid the City for 
“Ivanhoe” (M-G), with the pic set 
to debut that house Oct. 8. 

The Glenside, suburban house, 
will run a Tuesday night series de- 
voted to art films: Called “Cur- 
tain at 8:30,” the series will be on 
subscription basis, with a commit- 
- tee to pick the c first two pix. Sub- 
y Tsc r ibers -will ballot for second 
batch. 

Bill Brooker, vet local Para- 
mount, p.a., joined RKO’s exploi- 
tation staff, and will be stationed 
in Kansas City. 

Steve Edwards, Republic nation- 
al ad-publicity chief, was in town 
setting up campaign for “Quiet 
Man,” due in at the Mastbaum. 


DALLAS 

Frank B. Weatherford, city man- 
ager in Fort Worth for Interstate 
Theatres, announced series of 
changes in personnel. Charles E. 
Carden named manager of Palace, 
replacing Harry Gould, retired. 
Jerry Towles transfers from the 
Mansfield Drive-In to become as- 
sistant manager and treasurer of 
the Palace. R. J. Narowitz moves 
from the Majestic to the Tower. 
Ruth Hightower, vacation relief 
operator, -named manager - of t he 
River Oaks. John Johnson was 
made acting skipper of Majestic. 
A1 Peterson goes over from River 
Oaks to be city treasurer of cir- 
cuit on Weatherford’s staff. 

Amos Page opened the new Der- 
by Drive-In at McLean. His 
mother, Mrs. Madge Page operates 
Avalon Theatre there. * 

The Wheatley in South Dallas 
purchased by J. William Callan 
and Wally Smith. The house was 
formerly owned and operated by 
Bob Bowland. 

The 900-seat Alameda opened at 
Edinburg, by M. Benitex. It is one 
of 12 houses operated in this area 
by Benitex. It will feature Spanish 
language pix. 

Carol Drive-In opened at Gil- 
mer. 

D. J, Faggard is new owner and 
operator of the Miami, Miami. He 
recently purchased it from Web- 
ster and Morris. 

A. J. Vinyard, a vet of 22 years 
in local film biz, purchased the 
White, Dallas, from interstate The- 
atre Circuit. He started as a pro- 
jectionist with the old Ed Foy, 
nabe theatre, later booking the 
house. He was with the White 
when it was first bulit. For the last 
20 years he has been maintenance 
man for Interstate, handling their 
South Dallas theatres. 

Frank Scott named manager of 
Port Lavaca Hheatre, Port Lavaca. 
Scott replaces Johnny Price, who 
was brought here by Long Thea- 
tres, operators of house. 

Jerry Stout opened the 500-car 
Denton Drive-In at Denton. 

Joe Beckham sold the Grand, 
Grandview, to Sherman Hart. 

The Queen, Austin, operated by 
the Trans-Tex Theatre circuit, re- 
opened after being closed for five 
weeks. Ceiling collapse caused 
house to close. 


. CHICAGO 

Dick Felix, Essaness ad-publicity 
head, and Howard Lambert, chief 
booker for circuit, resigned and 
will operate the Vogue, which was 
run by the chain for last 20 years. 
Charles Shapiro, former district 
manager, will take over the book- 
du ^ e . s > but ad-publicity duties 
wHJ be distributed among the staff. 

William Caine is new owner of 
the Roxy, Lockport, 111. 

The Lee, Dixon, 111., a Gomersall 
house, went from weekends to full- 
time, operation. 

Illinois State Supreme Court 
last week upheld the appeals court 
which ruled that Balaban & Katz 
was not liable to buy the Congress 
for $625,000 under terms of an 
operating lease. Lower court’s de- 
cision was in favor of the Congress. 

Terrace, operated by,J. Rafakes, 
has shuttered. 

Strand, Brookfield, 111., reopened 
two weeks ago, but. has cut back to 
week-end-only operation. 

Herb’ Ellisburg takes over as 
manager of the Picadilly as well as 
continuing to operate the Rose- 
wood. 

Judge John Baines, Chi federal 
district court, has set hearing for 
the transfer of the Viking Theatre 
anti-trust suit in Milwaukee to Jan. 

Hearings are scheduled to start 
° ct - 1 on the $8,000,000 leasehold- 
er and landloard anti-trust suit on 
the Oriental Theatre Bldg, on Oct 
* b ®£? r ® J ud ^ e William Campbell 
in fed ® ral district court here. 

Anthony Fraziana became a part- 
ner with Charles Backus in the Na- 
tional Theatre. 

Jack Butler increasing his ca- 
P? C] l 4 y *1 £°? to 1,200 autos at 
the Sid-Way Drive-In, Danville, 111. 



Picture Grosses 


******** 


DETROIT 


(Continued from page 9) 

“All Because of Sally” (U) (2d l wk). 
Slow $13,000. Last week, $18,000. 

Palms (UD) (2,961; 70-95)— “Car- 
ibbean” (Par) and ‘Last Train 
Bombay” (Col). Fair $12,000. Last 
week. “Don’t Bother To Knock, 
(20th) and “Capt. Pirate” (Col) (2d 
wk), $10,000. 

Madison (UD) (1,900: 70-95)— 
“Miracle of Fatima’ WB) Great 
$24,000. Last week, “Will Rogers 
(WB) (2d wk), $7,000. 

United Artists (UA) (1,900; 70- 
95) — “Quiet Man” (Rep). Big $17,- 
000. Last week, “Fearless Fagan” 
(M-G) and “You for Me (M-*G) 
$7,600. 

Adams (Balaban) (1,700; 70-95) — 
“Devil Makes Three” (M-G). Fair 
$8,000. Last week, “Merry Widow” 
(M-G) (4th wk), $4,000. 

‘Ivanhoe’ Wham $25,000, 
Buff.; ‘Fatima* Rich 18G 

Buffalo, Sept. 30. 

“Ivanhoe,” with a slightly upptd 
scale, is pacing the field here this 
week with smash takings at the 
Buffalo. “Miracle of Our Lady of 
Fatima” h -actually -making as 
strong a showing with a terrific 
take in the smaller Center Theatre. 
“Monkey Business” , is good at 
Paramount. 

Esimates for This Week 

Buffalo (Loews) (3,000; 74-$1.20) 
— “Ivanhoe” (M-G). Great $25,000. 
Last week, “Full House” (20th) and 
“Confidence Girl” (UA), $10,000 at 
40-70c .scale. 

Paramount (Par) (3,000; 40-70) 
— ‘Monkey Business 5 ’ (20th) and 
“Franchise Affair”. (Indie). Good 
$13,000. Last wtek, “Just For You” 
(Par) and “Wild Stallion” (Mono) 
(2d wk), $8,000. 

Center (Par) (2,100; 70-$l) — 
■“Miracle of Fatima” (WB). Terrific 
$18,000. Lats week, “Lure of Wil- 
derness” (20th) and “Army Bound” 
(Mono) $7,500 at 40-70c scale. 

Lafayette (Basil) (3,000; 40-70 — 
‘Untamed Frontier” (U) and 
“Secret Flight” (Indie). Fair 
$8,000. Last week, “Assignment 
Paris” (Col) and “Last Train From 
Bombay” (Col), $9,000. 

Century (20th Cent.) (3,000; 40- 
70)— “One Minute to Zero” (RKO) 
and “Yukon Gold” (Indie). Big 
$13,000. Last week, “Sudden Fear” 
(RKO) (2d wk), $7,500. 


PITTSBURGH 

(Continued from page 8) 

(3) again with “Assignment Paris” 
(Col). Last week, “Les Miserables” 
(20th), $7,500. 

Penn (Loew’s) 1 3,300; 85-$1.25) 
— “Ivanhoe”' (M-G). Easily the 
biggest thing here in years. Should 
have no trouble in hitting a block- 
busting $40,000. Stays on natch! 
Last week, “Devil Makes Three” 
(M-G), $9,000. 

Squirrel Hill (WB) (900; 50-85) — 
“Lady Vanishes” (UA) (reissue) 
(2d..wk). Nearly $2,000 on top of 
solid $3,000 opening week, 

Stanley (WB) (3.800; 50-85)— 
“Crimson Pirate” (WB) (2d wk). 
Holdover being helped by Walcott- 
Marciano fight pix, on top of sell- 
out crowd for telecast of the fight. 
Should come close to $9,000, okay. 
Last week, “Pirate” hit nice $13,- 
000 ; 

Warner (WB) (2,000; 60-$1.25) — 
“Lady- of Fatima” (WB) (3d wk). 
Holding up nicely at better than 
$9,500. Last week, sock $13,300. 
Still drawing religious groups. 

MINNEAPOLIS 

(Continued from page 8) 

praise for this pictilre and highly 
favorable word-of-mouth. Nice $5,- 
000. Last wek, “Lady Iron Mask” 
(20th) and “Tom Brown’s School- 
days” (UA), $2,000. 

Radio City (Par) (4,000; 50-76) — - 
“Just for You” (Par). Good $10,000 
for Bing Crosby starrer. Last 
week, “Quiet Man” (Rep), $9,000. 

RKO-Orpheum (RKO (2,800; 40- 
76)— “One Minute to Zero” (RKO) 
.and Walcott-Marciano fight pix. 
Fine $11,000. Last week, “Sudden 
Fear” (RKO), $8,000. 

RKO-Pan (RKO) (1,600; 40-76)— 
“Sudden Fear” (RKO) (m.o.) and 
fight films. Okay $4,500. Last week, 
“The Ring” (UA) and “Red Planet 
Mars” (UA), $4,200. 

State (Par) (2,300; 50-76)— “Fear- 
less Fagan” (M-G). Surrounded by 
array of comedy shorts and sold 
as all-fun show. Mild $5,000. Last 
week, “Caribbean” (Par), $6,000. 

World (Mann) (85-$1.20) — “Full 
House” (20th) (2d wk). Tapering 
off substantially after fast start. 
Fair $2,500. Last week, $4,500. 


‘FAGAN’ TAME $8,5! 
PROV.; TIRITE’ OK 8G 

Providence, Sept. 30 
This is a slow week all-around 
at the bexoffice with nothing ap- 
proaching even an average total. 
Even Walcott-Ma^itino fight pis 
are not helping too much at RKO 
A1 bee. Loew’s State is the top 
grosser with “Fearless Fagan” 
while the Majestic is doing com- 
paratively better with “Chmsosj 
Pirate.” 

Estimates for This Week 

Albee (RKO) (2,200; 44-65) — 
“Fuller Brush Man” (Col) ami 
“Fuller Brush C-firl” (Col) irefe&ues) 
and fight pix, Slow $5,500. Last 
week, “Untamed Frontier” <U) aod 
“Bonze Goes to College” (U>, neat 
$9,000. 

Majestio (Fa?) (2,209; 44-65 > — 
“Crimson Pirate” (WBJ ancl “Arc- 
tic Flight” (Mono). OUc $8 000. 
Last v.c^k, “Full Hwis®” <20th) 
and “Sally and Sain. Atmt" • 
good $9,090. 

State (Loev.-; <$,200; .V4-65) — > 

“Fearless Fagan” (M-G) and "My 
Man and I” IM-Gh Mild $8,500. 
Last week, “MeriT Widow” (M-G) 
(2d wk), fair $9,000. 

Strutd (Silverman) (2,200; <4- 
65) — “Golden Hawk” (Col) and 
“Triple Creek” (Col). Opened 
Monday (29). Last week, “Son of 
Paleface” (Par), disappointing 
$6,500. 

‘For Yo^Wil5,000, 
Denver; ‘Beacon’ Ditto 

Denver, Sept. 30, 

“Just For You” shapes standout 
here this we<ek with big total at 
the Denham ; and holds. “Walk 
East on Beacon” looms fine at 
Orpheum as does “Les Miserables” 
at Paramount. “Island of Desire” 
is fair in two locations. 

Estimates for This Week 

Broadway (Wolf berg) (1,200; 50- 
85) -- “Merry Widow” (M-G) <4th 
wk). Off to $5,000. Last week, good 
$7,000. 

Denham (CockrJU) (1,750; 50-85) 
— “Just for You” (Par). Big $15.- 
000. Holds. Last week, ‘ Son of 
Paleface” (Par) (3d wk), $7,000. 

Denver (Fox) (2,525: 50-85) — 
“Dre&mboat” (20th) ana “Flame of 
Sacramento” (Rep), day-date with 
Esquire. Fair $12,000, Last week, 
“Affair Trinidad” (Col) and “Yu- 
kon Gold” (Mono), big $19,000. 

Esquire (Fox) (742; 50-85) — 
“Dreamboat” (20th) a rfd “Flame of 
Sacramento” (Rep), Fairish $2,500. 
Last week, “Affair Trinidad’’ (Col) 
and “Yukon Gold” (Mono). $4,000. 

Orphemn (RKO) (2,600; 50-85>— 
“Walk East Beacon” (Col) and 
“Last Train Bombay” (Col). Nice 
$15,000. Last week, “Sudden Fear” 
(RKO) and “Pirate Submarine” 
(Lip) (2d wk), $10,000. 

Paramount (Wolfberg) (2,200: 50- 
85) — “Les Miserables” (20th). Fine 
$12,000 or better. Last week, “Full 
Housu” (20th), $13,500. 

Tabor (Fox) (1,967; 50-85) — “Is- 
land of Desire” (UA) and “Fargo” 
(Mono), day-date with Webber. 
Fair $6,000. Last week* “Rose Bowl 
Story” (Mono) and “Wagons West” 
(Mono), big $9,000. 

Webber (Fox) (50-85) — “Island 
of Desire” (UA) and “Fargo” 
(Mono). Fair $3,000. Last week. 
“Rose Bowl Story” (Mono) and 
“Wagons West” (Mono), $4,000. 

~srT louis 

(Continued from page 9) 

500 in 4 days. Last week, “Quiet 
Man” (Rep), strong $18,000. 

Lcrw’s (Loew) (3,172; 65-$1.20) 
—“Ivanhoe” (M-G). Mighty $32,- 
000. Last week, “High Noon” <UA) 
and “Without Warning” (UA) »2d 
wk), neat $12,000. 

Missouri (F&M) (3,500; 60-75)— 
“Sudden Fear” (RKO) and “Models, 
Inc.” (Indie) (m.o.s). Fair $10,000. 
Last week, “Big Sky” (RKO) and 
“Full House” (20th), mild $8,000. 

Pageant (St. L. Amus.) (1,000; 90) 
— “Tales of Hoffmann” (UA) (2d 
wk). Good $$500 after $4,000 ini- 
tial stanza. 

Shady Oak (St. L. Amus.) (800; 
90) — “Tales of Hoffmann” (UA) 
(2d wk). Nice $4,000 following 
$4,500 first frame. 

‘Ring’ Accoladed 

“Tlie Ring,” a fistic drama turned 
out by the King Bros, for United 
Artises release, last week nabbed a 
citation from the Helms Athletic 
Foundation for “combining excite- 
ment and sportsmanship to a de- 
gree rarely found in a motion pic- 
ture.” 

Foundation, a non-profit organ- 
ization devoted to the betterment 
of sports, accoladed a film for the 
first time in handing laurels to 
“The Ring.” 



26 


TV«FILMS 


PSjRi&fr 


Wednesday, October 1, 1952 


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REVIEWS 


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FOUR, STAR PLAYHOUSE 
(My Wife Geraldine) 

With Charles Boyer, Una Merkel, 
Porter Mall, others 
Producers: Boyer, Don Sharpe 
Executive producer: Felix Jackson 
Director Robert Florey 
Writer: Larry Marcus 
30 Mins.; Thurs., 8:30 p.m. 
SINGER, SEWING MACHINE CO. 
CBS-TV, from N. Y. 

< Young & Rv bicam) 

The Singer Sewing Machine Co. 
makes its videbut along the pix 
route will? every expectation of 
Kuct-^s, if the preem entry is in- 
dicative of the series. Sui rounding 
the Don Sharpe package are the 
trimmings and credits that ride 
the ctieko route. First oft, Charles 
Boyer lends his dci’t thesping to 
the initialer, aside from a produc- 
tion nod to the film and stage star. 
The French actor will make five 
appearances in original teleplays, 
alternating with Joel McCrea, 
Dick Powell and one other still 
to be pacted. “Four Star Play- 
house’'’ is on a skip-week basis 
.With the “Amos ’n’ Andy” show. 

„ in presenting “My Wife Ger- 
aldine” as the first of the skein, 
attention was paid to the support- 
ing cast, including such reliables as 
TJna M' litel and veteran seene- 


along with his crew, obviously tried < NBC- TV. Initial stanza, screened 
bard and the skits were about 011 ; last light (Tues.), suffered from 


a, par with those of last season, but 
the show failed to come off. 

Under a deal set at the end of 
last season with Freeman Keyes 
and the Russel M. Seeds package 
outfit, Skelton’s show is being aired 
this season at 7 p.m. It's a good 
Sunday night slot for him that 
should lead to top 10 ratings — but 
only if he can come up with thu 
bright, sparkling type of comedy 
expected of him. Stal. 


SHORT SHORT DRAMA 
(Air Mail, Special Delivery) 

With- Ruth Woods, hostess; Edgar 


a wetk story but production, cam- 
era work and other technical 
credits indicated the series will be 
among the better on TV this sea- 
son. Thus, with good yarns in the 
future, “Short Short Drama” 
should win and hold a sizable 
audit nee. 

Pr< *?m script was an original 
penned by Max Ehrlich, “Air Mail, 
Spec 1 ’ 4i Delivery,” dealing with a 
j young boy who wrote a letter to 
God :o help save his mother, whom 
doetc-rs had pronounced fatally ill. 
Postmaster Edgar Stehli, to whom 


he g.ive the letter for mailing, did 
Stehli, Joe Fallon, Martin not want to disillusion him so put 
Brooks, Cameron Prud’homme, the 1 tter away in a drawer. Some 
Martin Greene, Jeffrey Bryant time later, the lad rushed happily 
Producer: Bernard Prockter Pro- into the postoffice to tell Stehli 


Thurs., 


ductions 

Director: Dan Petrie 
Writer: Max Enrlich 
15 Mins.; Tues. and 
7:15 p.m. 

PBPSI-COLA 
NBC-TV, from N. Y. 

{ Biou) ) 

Pepsi- Cola, which 
Emerson’s “Wonderful 
CBS-TV last season, is following 
the trend towards vidpix tNs year 


had 


Town 


Faye 
on 


steaJci Porter Hal?. While- the j with a new series of quarter-hour j cept able jobs. 


nis mother was getting better. 
Stehli then looked in the drawer 
but ound that the letter had mys- 
tericusly disappeared. 

Yt rn could have been extremely 
maudlin but Ehrlich managed to 
stee away from the tear-jerking 
aspects. In so doing, however, he 
somehow lost most of the story’s 
kick so that it had little punch 
when the “miracle” was revealed 
at t le climax. Small cast did ac- 


idorv is no; earth-shaking by any 1 dramar. 
means, the L-inr M’uvoi script ; _ 
is preciously nursed for continu- j 
ous interest. Built on a romantic 
perch, it treats of Boyer, dovtn on 
his luck, dreaming up a wife in : 
order to land a job with employer j 
Hall, who is consumed with the 
virtues of d'-.uertic life. 

The complice ii-«/ns that v.l in 
for Boyer, with Miss M*.‘» * a*- 
manager of the bungalow co.; — ? 
in which he lives, form the basis 
Tor a series of nicely wrought sit- 
uations in which the light comedy 
values receive* neat accenting. 

That Boyer finally decides for con- 
tinuing the marital myth as serv- 
ing his mental setup better thaft 
actuality, is a good snapper and 
least telegraphed in the mostly 
flashback plot. 

Hooked up with Ihe series are 


aired twice weekly on 1 Pepsi's “hostess’ 


Ruth Woods, as 
on the show, got 


the story rolling okay but that 
business of introing it by having 
people come to visit her in her 
apartment was artificial and did 
not come off. Miss Woods does an 
effective blurbing job on the Pepsi 
plugs. 

NBC has been able to clear only 
eight stations for Pepsi in this 
Tuesday and Thursday evening 
slot, but the show will hit at least 
14 other NBC outlets at other 
times. Stal. 


HOW TO 

With Ed and Pegeen Fitzgerald 
Producer: George Kamcn 
Director: Carl Lerner 
15 Mins.; Thurs., 1 p.m. 

CARSON, PIRi:i & SCOTT 
WGN-TV, Chicago 

( Fred Williams ) 

Ed ’ and Pegeen Fitzgerald, in- 
ventors of the “Mr. & Mrs.” radio 
format, have branched out on the 
celluloid circuit with this quarter- 
hour hausfrau lure being spot- 
booked around the country in 15 
markets with top-bracket retailers 
lifting the tab. It’s a hep invasion 
by the easy-talking pair into the 
service show field that has gone 
over so well with the femme day- 
time TV setsiders. 

Qpening canter *25) on the 
filmed WGN-TV ride, backed by 


Carson-Pirie-Scott, major Loop re- 
tailer, indicated that the format is 
grooved along the familiar pat- 
ten?, with the duo tossing house- 
hold hints and homemaking short- 
cuts at the gals. But the Fitz- 
geralds bring with them some plus 
Ingredients that boost the pack- 
age out of the mine-run category 

Besides their adroit patter that 
keeps the session moving along 
sprightly, they bring in a touch 
of hubby and wife byplay to lend 
some humor to a basically straight- 
from-the-shoulder format. In fact, 
their best segment was when Ed’ 
got himself all tangled up with a 
ball of string, while Pegeen was 
showing how packages could be 
tied more tightly by first soaking 
the twine. In short, it’s a simple 
housewife helper, but with class. 

Aside from the fact that the 
team will draw the ladies on their 
own merits, the local client gets 
generous treatment. Plus the 
opening and closing store idents, 
there were three internal blurbs 
and a generalized pitch, by Mrs. F 
on the values of personal shopping 
service. 

Film quality was only adequate. 

Dai'e. 






TV Films in Production 




of Friilay, Sepl. 26? 



“100 Men and a Girl”) and direc- 
tor Robert Florey ot the Coast 
lots. Ralph Berger is the set di- 
signer. Filming Is at RKO-Pathe 
studios, with Official Films re- 
leasing. 

Commercials are oil film and. 
like the show itself, easy to take. 

Trail. 


WM. BOYD i*KOD’NS, INC. 

11VC0 Ventura Bivd.: Los Angeles 
Hopnlong Cassidy seru-s of half-hour 
western adventures now shooting. Star- 
ring William Boyd and featuring Edgar 
Bucnanan. 

Executive producer: WilJiam Bo.vd 
Associate producer: Robert Stabler 
Production manager: Glenn Cook 
Directors: Derwin-Abbe. r i*oin:ny Carr 

JACK CHERTOK PRODS. 

General Service Studios, Hollywood 
"LONE RANGER" hi.” hour western 
series now shooting. 

John Hart, Jay Silverhecls set leads. 
Producer: Jack Chortol 
Associate prodvtcer: Harry Popp' 

: Paul Landrcs, Ilolly Mor 


Producers: Jack J. Gross and Philip N 
ftrasne 

Director: E. A. Dupont. 


pix, starring Alan Hale Jr. 
Stuart now shooting. 
Director: Richard Irving. 


JOHN GUEDEL PRODS. 

600 Taft Bldg.. Hollywood 
A:1 Linkletter starring in a scries of 
1.04 15-mlnute vidpix titled "LINKLETTER 
AND THE KIDS." 

Producer-director: Maxwell Shane 
A'sociate producer: Irvin Atkins 


PEOPLE’S POLITICAL POLL 
With Bob Post 
Producer: Post • 

Camera: Arthur Florman 
15 Mins.: Thurs., 8:15 p.m. 

CIO POLITICAL ACTION COMM. 
WABD, N.Y. 

Apparently with no axe to grind 
as to either candidate, the Political 
and Randy Action Committee of the Congress 
| of Industrial Organizations has 
! prepared a 15-minute* film contain- 
I ing nationwide “man-in-the-street” 


HAL RuACH PRODUCTIONS 

Ilal Roach Studios: Culver City 
aMos 'N' andy" series of character | interviews with citizens of all agos 


Directors: 


so 


RED SKELTON SHOW 
With Benny Rubin, others; David 
Rose orch 
Producer: Skelton 
Director: Marty Raekin 
TV Director: Fred Jackson, Jr. 
Waiters: John Fenton Murrav, Ben 
Freedman, Will Fowler, Skelton 
3ft Mims.: Sunday, 7 p.m. 

PROCTER & GAMBLE 
NRC-TV, from Hollywood 
( Banton 81 Bowles) 

Red Skelton has switched from 
live to film this season, hut what he 
should do Is switch his format and, 
perhaps, his stable of writers. 
Comic, who had one of the brighter 
comedy shows on TV during his 
preem season last year, flubbed ( 
badly for his first time out in the J 
1 q52-53 campaign Sunday night 
(28). Show's fizzle could be attrib- 
uted to the poor film quality, with 
a resultant lack of spontaneity, but 
even more important was the fact 
that the format and writing were 
off key. Skelton got along with 
this kind of stuff for the entire 
1951-52 season, but thi9 year defi- 
nitely requires a change. 

His lineup wasn’t changed one 
iota from that of last year Viewers, 
as a result, could call each turn, 
from his opening monolog, com- 
plete with stories of his son and 
daughter, through the overly-pro- 
duced and “integrated'’ plug for 
Tide and reliance on hi.s now-stock 


BING CROSBY ENTERPRISES 

RKO-Pathe: Culver City 
"Rebound" series of half-hour adult 
dramas. Sponsored by Fackard Motor Car 
Corp. Shooting resumes Oct. 15. 
Executive producer: Basil Grillo 
General Manager: Harve Foster ' 

JOAN DAVIS PRODUCTIONS 

General Service Studios, Hollywood 
"I MARRIED. JOAN" series of holf-nour 
situation comedies currently shooting for 
General Electric sponsor. Starring Joun 
Davis & Jim Buckus. 

Producer: P. J. Wolfson 
Director: Hal Walker. 

Writers: Arthur Slander. Phil Sharp. 


PAUL F. HEARD, INC. 

KTTV Studios:. Hollywood 
fii nos of 13 quarter-hour telepics en- 
hile < "WHAT'S YOUR TROUBLE?" with 
Di and Mrs. Norman Vincent Peale, 

P- -iducer: Paul F. Heard 
Dl octor: Paul F. Heard 
F> o Auction supervisor: Harry Cohen 


comedy tcleplx now shooting. Sponsored 
by Blatz Beer for CBS-TV. 

Cast: Tim Moore, Spencer Williams, Alvin 
Childress, Ernestine Wade, Johnny Lee 
Horace Stewart. 

Supervisors: Freeman Gosden. Charles 
Corrcll, Sidney Van Kcuren 
Director: Charles Barton 
Production executive: James Fonda 
Assistant director: Emmett. Emerson 
"Life ef Riley" shooting 13 half-hour 
telepix in series of situation comedies for 
NBC. 


and occupations who are asked: 
“Whom will you vote for, Eisen- 
hower or Stevenson?” Tagged 
“People’s Political Poll,” it started 
on WABD, N.Y., Thursday (25). 

For the opening installment poll 
conductor Bob Post quizzed people 
in Indianapolis, Philadelphia, Mem- 


JAN PRODUCTIONS, INC. 

General Service Studios: Hollywood 
"IT'S THE BICKERSONS" series of half 
1’uur comedy telepix resume Oot. 15. 

Lev Parker and Virginia Grey set leads. 
Producer: Jack Denove 
Production supervisor: C. M. Florence 
Director-writer: Phil Rapp 


Last: William Bendix starred with Mar- ! plijc and Salt Lake Cltv Rpasnns 
jorie Reynolds. Tom D' Andrea. Douglas i P n,s .. ana vA 11 > a . Ke _>liy. reasons 

Dumbrille, Wesley Morgan, Lujcan San- 


ders. 

Supervisor: Sidney Van Kcuren 
Producer: Tom McKnight 
Director: Abby Berlin 


DESILU PRODUCTIONS 

General Service Studios, Hollywood! 

"1 LOVE LUCY" half hour comedy se- 
ries sponsored by Philip Morris shim’ ing 
for fall season. 

Cast: Lucille Ball, Desi Arnaz, William 
Frawley, Vivian Vance. 

Producer: Jess Oppenheimcr 
Director: William Asher 
Writers: Jess Oppenheimcr, Madolyn 
Pugh, Bob Carroll, Jr. 

"OUR MISS BROOKS" half-hour com- 
edy drama series now shooting Tor CBS 
TV. General Foods sponsor. 

Cast: Eve Arden, Gale Gordon, Jane Mor- 
gan, Dick Crennn, Gloria McMillan, bob 
Rockwell, Virginia Gordon. 

Production Executive: Larry Borns 
Director: A1 Lewis 
Assistant director: Jim Paisley 
Wviteia: AJ Lewis, Joe Quillan 

DOUGFAIR CORPORATION 

RKO P«7.the: Culver City 
First IS of half-hour adventure scries 
"Terry and the Pirates." shooting, - ’tin acid 
Dry sponsors. 

Cast: John Baer, William Tracy, drain 
Sanders. 

Producer: Dougfalr Corporation 
Associate producer: Warren Lewis 
Directors. Lew Landers, Arthi j* FIcwm 


KEY PRODUCTIONS 

Eagle Lion Studios, Hollywood 
'^hooting Red Skelton series of 30-min- 
u'.c comedy telepix. Stars Red Skelton. 

Pri ducer: Red Skelton 
Oil ector: Marty Raekin 
"FOREVER AMBROSE" series, starring 
Edibe Mayehoff, weekly for 39 weeks, now 
sheeting. 

Eddie “Mayehoff, Billie- Burke, Hope 
Emerson, Arnold Stang, Chester Con* 
1 ’in, Connie Marshall 
Producer: Lou Place 
Dii ector: Dick Bare 


SCREEN GEMS 

1302 N. Gower. Hollywood 

Now shooting the FORD THEATRE 
series of 39 half-hour telepix. 
Producer-director: Jules Bricken 
Assistant director: Eddie Seata 


EDWARD LEWIS PRCDS. 

Motion Picture Center, Hollywood 
ierios of 13 half-hour telepix featuring 
li - ne Dunne as femcee now shooting. 

P? xlucer: Edward Lewis 
Production manager: William Stevens 

THE McCADDEN CORP. 

General Service Studios: Hollywood 
'THE BURNS AND ALLEN SHOW" 
m-.v shooting series of half hour comedy 
ttlcpix. The Carnation Co. sponsor. 

Cost: George Burns and Gracie Allen, 
.’•’red Clark, Bea Bcnadaret, Harry Von 
/ell. 

Producer- Ralph Levy 
Di ‘ector: Ralph Levy 

W ;;.ers: Paul Henning, Sid Dorfman, Har- 
/cy Helm, William Burns 


SHELDON REYNOLDS PROD.’S 

Post Parislen Studios, Paris 
FOREIGN INTRIGUE series of half- 
hour adventure films for presentation in 
U. S. TV for various spdnsors now shoot- 
ing in Paris, starring Jerome Thor and 
Sydna Scott. 

Producer-director: Sheldon Reynolds 
Assoc. Producer: John Padovano 
Director of Photography: Bertil Palmgren 
Musical Director: Paul Durand 


DON SHARPE ENTERPRISES 

RKO Pathe Studios, Hollywood 
Series of "FOUR STAR PLAYHOUSE" 
half-hour telepix dramas shooting. 
Producer: Don Sharpe 

"MY HERO" series of comedy-dramas 
starring Robert Cummings now shooting 
Producer: Mort Green 


for the public’s individual choices 
ranged from a Salt Lake City sales- 
man’s: “Stevenson is more liberaL 
. . I like the way he appears on 
radio and TV” to a Philadelphia 
housewife’s explanation: “I’m for 
Eisenhower because the cost of liv- 
ing is too high.” 

Throughout the interviews Post 
is completely impartial and com- 
petently handles his chores. Cam- 
erawork of Arthur Florman and 
sound are of good quality. PAC 
notes that its objective in present- 
ing the program until Election Day 
is merely to stimulate the average 
citizen to get out and vote for the 
man of his choice. That’s a com- 
r mendable public service motive. 
WABD preem, incidentally, makes 
New York the 35th city to view the 
film series. Gilb. 


SHOWCASE PRODUCTIONS 

Hai Roach Studios- Culver City 
"RACKET SQUAD" series resume shoot- 
ing half-hour telepix series Oot. 27. 
Producer: Hai Roach. Jr.; Carroll Case 
Director: Jim Tinllng 


FEDERAL TELEFILM, INC. 

Goidwyn Studios, Hollywood 
"MR. AND MRS. NORTH" series of half 
hour situation comedies now shooting 
first 39. A Jchn W. Loveton Production 
starring Barbara Britton and Richard 
Denning. 

Producer: Federal TV Corporation. 
Director: Ralph Murphy. 


MARCH OF TIME 

3G9 Lexington Ave.. N. Y. 

AMERICAN WIT AND HUMOR" se 
r>*s of 26 half-hour pix. Thomas Mitchell, 
m rrator, with cast including Gene Lock- 
lurt, Jeffrey Lynn. Arnold Moss. Ann 
B 'it and Olive Deerlng. 

Producer: Marion Parsonnct 
Director: Fred Stcpliani. 


NIGHT EDITOR 

With Hal Burdick 

Producer: Mansfield Enterprises 

Director: Mickey Baron 

Camera: Vernon Lewis 

15 Mins.; Fri., 11:15 p. m. 

| KAISER-FRAZER DEALERS 
j WABT-DuMont, N.Y. 

(Weintraub) 

Here’s a new attempt at low-cost 
vidpic programming which should 


SWARTTZ-DONIGER PRODS. 

Motion Picture Center: Hollywood 

"WARDEN DUFFY OF SAN QUENTIN" I _ . , , - . 

senes of 13 half-hour films to begin shoot- ; Pay off handsomely for all con- 
ing nud-octobor. Paul Kelly stars. ; cerned. It’s ‘ a quarter-hour one- 
Waitcr -nomuw, •^‘^•j-man- drama aeries, m- which J1;U 


FILMCRAFT PRODS. 

045] MelrGae. Hollywood 
GROUCHO MARX starred hi 3!) half-hnui 


J ARSONNET TV FILM STUDIOS, 
INC. 

4J-02 Fifth St., Long Island City, N. Y. 
Casting: Michael Meads. 

Shooting half-hour dramas for scries en- 
( -l).'d "The Doctor," snonsorod by Procter 
&■ ' amble. Features Warner Anderson. 

P ducer: Marion Parsonnct 
Pi auction manager: Henry Spitz 


a >• v ii «i uv-'vii i . .. i 1 uuv. WIUJI AliaiidKCi* IlCUi J OIJltL 

characters, Including the punchy j now Cr flhooSnc t C once° n a week Pr for U °NRC S Eli ' ector s: Pobcrt Aldrich, Peter Godfrey, 
pug who’s forever hearing bells go . DoSoto-PIymouth sponsoring. DATUncrnun DonnTTnnnTnMo 


PUg 

off and the perennial souse. Willy 
Lump-Lump. While these charac- 
ters stood Skelton in good stead for 
years in radio, TV’s intimacy makes 
them no longer welcome. In this 
ease, familiarity definitely breeds 
contempt and it’s time ior Skelton 
and his scripters to hi ing for th 
some new material . 

Film itself was fu//> and dis- 
played pbor lighting. In addition, 
the editing was spotty, with the 
camera cuts too often jarrtng. And, 
while the studio laughter was yoelc- 
ful *.s ever, the wav the switch to 
Aim knocked off Skelton's .-pon- 
taneity— which, actually, ts one of 

the comic's chief claims to fame — 

- .... 


Producer: John Oviedo J 
Film producer: l. I.indonbnum 
Directors: Bob Dwun, Bernie Smith 


FLYING A PRODUCTIONS 

6920 Sunset Blyd . Hollywood 
Second series oi 52 half-hour Gene 
Autry Western telepix shooting. Gene 
Autry, Pat Bultlam sot leads. 

"RANGE RIDER" shooting second se- 
ries of 52 half-hour vidcotors. Jack Ma 
honey. Dick Jones head cast. 

Producer: Louis, ( ray 
Directors: Wallace Fox. Geo. Aiuhairbaud 
New scries of half-hour western dramas 
entitled "DEATH VALLEY DAYS" 
shooting. 

Producer: Os rre’l McGo’Ycn 
Director: Stuart AJeGg'Vij 


PATHESCOPE PRODUCTIONS 

500 Fifth Ave., Now York City 
Now shooting "THE HUNTER/' series 
ol 13 half-hour telepix, sponsored by 
M J. Reynolds Tobncco Co. through 
Vtilliam Esty. Barry Nelson heads cast. 
P ‘oducer: Ed Montagnc 
r*‘‘oduction Supervisors: Walter Raft 
Rohert Drucker 
Director: Oscar Rudolph. 


ROLAND REED PRODUCTIONS 

Ilal Roach Studios. Culver City 
Shooting "MY LITTLE MARGIE" scries 
o; half-hour comedies. Gale Storm and 
( uarles Farrell set leads, 
now Producer: Hal Roach, Jr. 

/I ssoclato producer: Guy V. Thayer, Jr. 

REVUE PRODUCTIONS 

aSA'E. JVC. » Lion Studios: Hollywood 

kffrt u hour series of "ADVENTURES OF 

Mi ._, "hrn*^ z 1 * . K,Y CARSON" telepix now shootin* for 

Now shooting RIG TOVJH" aeries of Revue Prods. 


. . ... .. , , 1 An i. i» r t ouluto vi rievvje rrous. 

left MiLe lor >ome vlewoi'S even to I sponsored by Lever Producer: Revue Productions 

chuck.e Skelton himself, 1 ™ lk ' k MsVcs ' “” <l l JS{S-J« n .WkAKS*. usa.- 


vld- 


Producers; 

Swarttz 

Director: Walter Doniger 
Production manager: William Stephens. 

TELEMOUNT PICTURES, INC. 

11565 Ventura Blvd., Los Angtiles 
"COWBOY G-MEN" series of half-hour 
western vidpix now shooting. 

Cast: Russell Hayden stars with Jackie 
Coogan, Phil Arnold, Jackie Cooper, Jr., 
Byron Foulger, Dorothy Patrick feat- 
ured. 

Producer: Henry Donovan 
Associate producer: Russell Hayden 
Directors: George Canan, Reg Brownie 

VOLCANO PRODUCTIONS, INC. 

General Service Studios, Hollywood 
"THE ADVENTURES OF OZZIE AND 
HARRIET," half-hour comedy scries now 
shooting. 

Cast: Ozzic Nelson, Harriet Hilliard Nel- 
son, David Nelson, Ricky Nelson. Don 
DeFore 

Producers; Robert Angus and Bill Lewis 
Director: Ozzie Nelson 
Writers: Bill Davenport, Don Nelson, Ben 
Gershman, Ozzie Nelson 

FRANK WISBAR PRODS. 

Eagle Lion Studios: Hollywood 
"FIRESIDE THEATRE" series of half 
hour adult dramas now shooting. 
Producer-director: Frank Wlsbar 
Associate producer: Sidney Smith 

ZIV TV 

-5253 Clinton. St., Hollvwood 
Six In "BOSTON RLACKIE" series of 
half hour adventure telepix shoot In Oc- 
tober. 

General casting for *U pictures. 
Director*: Eddie Daviib 8obcy Marti*, 


Burdick does a standout job of 
maintaining audience interest with 
his yarn-spinning. With only one 
person in the cast and with a sin- 
gle basic set, the cost savings are 
obvious, and the fact that the show 
holds viewers should make it a 
good buy for spot purchasers 
around the country. 

On the stanza caught (26), Bur- 
dick displayed a surefire system of 
telling a story. Cast as the night 
editor of an unidentified news- 
paper, he utilizes a story in his 
current edition as the peg on which 
to hang his yarn. Then, merely sit- 
ting at his desk or walking around 
the room, he weaves the tale, chang- 
ing the pitch of his voice or using 
various dialects to differentiate 
among characters. Camera .cuts 
are cued to speeches of the differ- 
ent roles he essays, which aids in 
the story-telling. On the show 
caught, he handed viewers an 
O’henryish ta\s about a con man 
out to cop the life savings of an 
old farm couple. 

Show « is currently being spon- 
sored in five markets by the Re- 
gional Kaiser-Frazer dealer*. 
Filmed and animated plugs are 
good. Stal. 


Wedneflday* October 1, 1952 


PSA WSff 


TV-MUMS 


27 


$4,000,000 OLD PIX BONANZA 


Most of ’Em on Film 

Of the major television shows premiering for the season either 
last week or this week, majority of them are on film. 

These include, among others, the Red Skelton show, which 
bowed Sunday (21); “Four Star Playhouse," which preemed last 
Thursday; “Cavalcade of America,” which airs tonight (Wed.); “Our 
Miss Brooks,” preeming Friday (3); the new “Ford Theatre,” 
bowing in tomorrow (2); “Mr. and Mrs. North,” hitting the vidpix 
circuit for the first time Friday (3); “Ozzie and Harriet” starts a 
vidpix series Friday (3) and the Eddie Mayehoff “Doc Corkle” 
comedy starts Sunday (5). “Death Valley Days” also preems 
within the next week on a spot basis in 63 markets. 

Burns & Allen, until now a live presentation, goes film starting 
Oct. 9. 


Flock of Vidpix Stanzas Set For 
WJZ-TV as Fall Billings Perk 


In a major reprogramming 
surge, new WJZ-TV (N. Y.) pro- 
gram chief Paul Mowry will launch 
11 stanzas on the ABC outlet in 
the next fortnight. Five of the 
airers are commercial. 

Last night (Tues.) at 10:30-11 
p.m. the station preemed “Dog 
siiow of Champions,” featuring 
Mrs. Sherman Hoyt, dog fancier, 
with fancier dogs and breeders. 
Tonight (Wed.) the new “March of 
Time” vidseries starts, backed by 
Miller beer. On Friday (3) “Na- 
tional Pro Football Highlights,” 
another film series capsulizing the 
previous week's pro games, will 
start, moving into its permanent 
Thursday 10 p.m. berth on Oct. 9. 

A weekly five-minute weather 
show, handled by Dorian St. 
George, starts for Bovril, via Hil- 
ton & Riggio, in the 7:10 spot Fri- 
day (3>. On Sunday (5) the “Cap- 
tain Midnight” vidpix will start in 
the 6-6:30 period, backed by Wan- 
der Co. (Ovaltine) through Grant. 

On Monday (6) Johnny Olsen's 
“Homemaker’s Jamboree” will 
take the 3:30-4 p.m. strip cross-the- 
board. Another new strip, is a 10- 
minute news stanza with Taylor 
Grant. “First Edition,” using Tele- 
news clips and photos at 5:50 p.m. 

Hartz Mountain Products will 
back “Pet Party” on WJZ-TV Sat- 
urdays at 5:45-6 p.m., starting Oct. 
11. via Kenneth Rader agency. 

Mowry. who replaced Hal Hough 
(now with WOBS-TV), is also 
shuffling the mornipg lineup. 
“Second Cup of Coffee,” starring 
ex-film actor Eric Rhodes and Red 
Kramer, will be beamed in the 
11-11:15 a.m. strip “Kitchen 
Capers,” now in the 11:45-12:30 
stretch, goes to 11:15 a.m. to 12 
noon. “Midday Playhouse,” now 
aired at 12:30 p.m., moves up* to 
the noon hour. 

Advance Patterns has also 
bought “Sew for Yourself,” which 
will be beamed Tuesdays at 1-1:30 
p.m.. starting Oct. 14. Agency is 
Rand. 


Rasumny Pacted For 
Telepix Series Abroad 

Hollywood, Sept. 30. 

Actor Mikhail Rasumny has been 
tapped to go to Europe for a new 
historical vidfilm series, titled 
“The Great Loves,” which will be 
filmed in London and Italy for U.S. 
sponsorship. Victor Pahlen and 
Edgar G. Ulmer, producer and di- 
rector of “The Pirates of Capri,” 
current United Artists release in 
which Rasumny has a featured 
role, will produce, and have plans 
for a 39-week series. 

Rasumny is under option to CBS- 
TV for a comedy-mystery vidfilm 
series titled “Tangiers,” on which 
a pilot film was recently lensed in 
N.Y. Option expires Jan. 1 and the 
actor’s European deal depends on 
whether CBS gets a sponsor for 
“Tangiers” and so goes ahead with 
the show. 


Cleve. Theatres, 

TV Bury Hatchet 

Cleveland, Sept. 30. 

NBC's television outlet WNBK, 
and two downtown theatres, RKO 
Palace and Telemagemont’s Hipp, 
have buried the feuding medium 
hatchet .for a series of promotional 
back-scratching” ventures to hypo 
both visual and boxoffice interests. 

Inspired by WNBK, the promo- 
ll™ 18 mark the first major local 
J '-theatre weeding, and it is ex- 
pected to pave the way for possible 
interchange of live-talent stage- 
and-television productions. 

Hipp _ was the first to move into 
im' major promotion venture with 
a tie-in on “High Noon.” Under the 
aureement, the theatre, through 
newspaper ads and trailers, urged 

\vvm- lences participate in 

MjK s Gary Cooper picture iden- 
uication contest for series of 
pi i/c.s. WNBK, in return, sparked 

Dhmb.s 0 {) * U ^ S wee ^Hong cuffo 

t-or the Palace, WNBK joined in 
Assign ment-Paris” contest with 
flr 1 ,'i” Ss l 1 u ''^ oard Mildred Funnell 
‘ it 1 1 , < ?, ria . Brown’s afternoon 

linn ) ),v ^ ’ P a y* n S heavy atten- 

to contest and picture. Like 
Continued on page 106) 


New MOT Vidpic 
Series Gets. 45 
Market Spread 

Tele edition of “March of Time,” 
which preems within the next few 
days on 53 stations (including 
Montreal and Toronto) as a syndi- 
cated series, will be sponsored in 
45 markets by Miller Hi-Life beer, 
via the Mathisson agency. 

Miller had backed “March of 
Time Through the Years,” which 
had used old MOT reels, in Mil- 
waukee. Later, when MOT turned 
out “Crusade in the Pacific,” it 
picked up that vidpix series for 
23 markets. 

New “MOT” series differs frbm 
the radio version in that it will 
have a completely factual, docu- 
mentary approach, with no “reen- 
acted” scenes, and will devote each 
half hour to one subject, accord- 
ing to MOT manager Arthur Mur- 
phy. Each feature will be given 
over to a country in the news, a 
personality, air issue or problem'.- 
■Opening stanza, however, will be 
atypical, in that it will be a re- 
port on the state of the nation in 

(Continued on page 106) 


li/I PUTS ’52 BIZ 



Despite the fact that no recent 
batch of U. S.-made feature pix 
has been made available for video 
distribution, the Motion Pictures 
for Television outfit, prexied by 
Matty Fox, is moving into the home 
stretch for 1952 with a banner $4,- 
000,000 in gross billings in sight. 
This represents a nearly 33%. in- 
crease over the approximate $3,- 
000,000 taken in by the firm dur- 
ing ’51, when the same pix were 
already circling the video channels 
foj the second and third year. 

With the fact established that 
video viewers in practically all the 
nation’s markets are feature pix- 
happy, as witness the?’ spiraling rat- 
ings for the oldies, MPTV sees 
a continuing bonanza in the 1930- 
40-vintaged product for at least 
the next two years, by which time 
they will have reached the satura- 
tion grind stage. (MPTV is repre- 
sented with its oldies in all but 
two or three of the TV markets 
in America.) 

MPTV, which has practically ex- 
hausted its whole library of avail- 
abilities, with only a few of the 
indie-made productions still wait- 
ing to be taken off the shelf, is 
practically reconciled to the fact 
that there won’t be any releases 
of major studio product for TV 
for another 18 months at least. 
This is based on the firm’s ex- 
haustive analysis and? sizing up pf 
the situation. Similarly, there is 
little likelihood of any of the “pay- 
as-you-see” feature pix presenta- 
tions getting through the FCC 
pearly gates and on the video 
channels for at least another year, 
MPTV feels, despite recurring 
pressures put on the Government 
agency for an early approval of 
one or another of the pay devices. 

Not generally known is that 
MPTV came close to grabbing off 
all the RKO product of the last 
20 years in its tieup with a syndi- 
cate that was matching the bid of 
the successful Ralph Stolkin group 
for takeover of the Howard Hughes 
stock. Had the deal gone through, 
MPTV would have had clear sail- 
ing for years in the feature-pix- 
for-TV sweepstakes. 


Wolfson to Vidpix 

Hollywood. Sept. 30. 

Another picture writer-directoi 
jumped the fence to television 
when P. J. “Pinky” Wolfson signed 
to produce the Joan Davis series. 
“I Love Joan.” He replaces Dick 
Mack, who resigned after complet- 
ing the first four half-hour films. 


NBC Setting Sights on Sandburg, 
Beerbohm, Churchill TV ‘Profiles’ 


Aladdin TV’s 126G Suit 
Claims Pact Breached 

Los Angeles, Sept. 30. 

Breach-of-contract suit for $126,- 
000 was filed by Aladdin Television 
Productions against Lou Snader 
and the Snader Telescription or- 
ganizations in Superior Court. Ac- 
tion charges the defendants with 
failure to go through with an 
agreement involving the distribu- 
tion of 13 “Kid Magic” telefilms. 
Plaintiff declared the deal would 
have netted $126,000. 

Named in the suit, in addition 
to Snador, are Alexander Bisno, 
Reuben Kaufman, Snader Produc- 
tions, Inc., Snader Telescriptions 
Corp., and Snader Telescription 
Sales, Inc. 


Pacific Borax’s 

$2,750,000 Top 

Coin for Vidpic 

The Pacific Borax-sponsored 
“Death Valley Days,” the TV ver- 
sion of the radio show which ran 
for approximately 20 years, moves 
into the top spot for coin expended 
on a single 30-minute once-a-week 
vidpic spot showcase. All told it 
is costing the client' approximately 
$2,750,000 in time and talent costs 
on a 52-week basis for the 30- 
minute spread in practically every 
TV market in the country. 

Show, which officially preems on 
film this week, has a 63-market 
spot sale identification, also be- 
lieved to represent a new high. 
Because of the radio show’s track 
record. TV stations were anxious 
to grab off the billings in antici- 
pation of a long-running stanza, 
and In return allocating for the 
most part choice time slots. 

Pacific Borax is spending $360,- 
000 on time costs alone for the 
initial 13-week cycle. In addition 
each stanza carries a budget in 
excess of $25,000. 

McCann-Erickson is the agency 
on the account. 


NBC has wrapped up the second 
in the ambitious series of half- 
hour public service TV presenta- 
tions, which Initially bowed some 
months back with the projection 
of the Bertrand Russell filmed in- 
stallment on his 80th birthday. 
No. 2 in the series, designed to 
stimulate the imagination of Amer- 
ican audiences, features Robert 
Frost. This one, filmed at the 
poet’s home in Vermont, was pro- 
duced for NBC-TV by Richard 
deRochemont, with a script by 
Bela Kornitzer, author of “Ameri- 
can Fathers and Sons.” Like a 
Russell film, the Frost program 
will get a Sunday afternoon slot, 
though no date has been set as 
yet. 

Despite the current, widespread 
retrenchments around NBC,' some 
additional coin has been ear- 
marked for the project (originally 
incorporated into the now-aban- 
doned “Operations Frontal Lobes”) 
being supervised by news-special 
events chief Davidson Taylor, Jr. 
As result, Taylor has now set his 
sights on a cycle of world-ac- 
claimcd personalities that may 
translate it into TV’s first dis- 
tinguished “profile” series. 

Carl Sandburg has already given 
his okay for an early half-hour 
“sitting” before the TV cameras 
to expound on his philosophy and 
beliefs. Frank Lloyd Wright, the 
architect has also agreed to do 
one,. 

Taylor is still confident of get- 
ting Prime Minister Winston 
Churchill for one of the series, 
despite a previous rejection. Mean- 
while, Gioia Marconi, daughter of 
the late inventor, who is on Tay- 
lor’s staff at NBC-TV, is currently 
in Italy exploring the possibilities 
of incorporating into the series 
such personalities as Max Bcer- 
bohm and Bernard Berenson (both 
now living in retirement in Italy). 

In addition to network showcas- 
ing. NBC-TV is also planning for 
non-theatrical release and other 
subsidiary use of the filmed series. 

The Bertrand Russell chapter 
won unanimous critical plaudits 
when originally shown. 


Scfalitz, CBS-TV 


Set New Series \ 



YOUNG’S YEN FOR PIX 
MARKED BY NEW PACT 

CBS-TV’s new contract with Alan 
Young underlines the comic’s pref- 
erence for working on film. Pact 
specifies that Young’s projected 
show is to be on celluloid, except 
if a sponsor wants a live show 
Until July 1. 1953, the web will 
have the right to ask Young to do 
a fortnightly live stanza if the 
bankroller holds out for a non-film 
formal . 

Young flew into Gotham last 
week with his attorney, Sam Zagon, 
and set the pact, which put him on 
the CBS payroll. Terms give Young 
outright ownership of subsequent 
runs of the vidpix. A pilot film will 
be made shortly for’ the comic, 
whose last stint for CBS-TV was 
backed by Esso* 


Hollywood 

Raoul Krausliaar starts scoring 
four new Hopalong Cassidy telepix 
at Sound. Studios., Bill Boyd. wrap-, 
ped up four more Hoppys and 
gifted 48 in crew with king-sized 
Hoppy shirts . . . Florence Lake 
landed role in TV series, “The 
Adventures of Ozzie and Harriet.” 

. . . Sat Eve Post propping layout 
on pilot telepix situation, with Sid 
Avery lensing pix to accomp . . . 
“Foreign Intrigue” now angeled by 
Muntz Car on KNB1I . . . Burns 
and Allen begin weekly telepix 
series for Carnation and Goodrich 
Oct. 9 . . . Julie Bishop and John 
Litel have set roles with lead 
Robert Cummings in “My Hero,” 
Don Sharpe production being shot 
at RKO-Palhe for Dunhill. Mary 
Beth Hughes set for first episode, 

and Mori Greene is producing . . . 
Cathy Downs in Shadow-Wave 
teleblurbs shot by Roland Reed 
Productions at Hal- Roach lot for 
McCann-Erickson, Frank Bibas of 
agency in N. Y. supervising . . 
William Bishop in “Drawing Room 
A,” Edward Lewis Productions 
telepic* rolling at Motion Picture 
Center studios, John Brahms di- 


recting . . . “The Goldon Glove 
Kid” optioned by Roland Reed 
from Hal Smith and William Cox. 

. . . Simmel-Meservey Productions 
crew junketing around world shoot- 
ing historical series, “Yesterday’s 
World Today," Is’ now” in" Athens; 
and due back here end of October. 

. . . Alliance of Television Film 
Producers reelected all officers — 
prexy Maurice Unger, v.p. William 
Broidy, treasurer Basil Grillo and 
secretary Dick Morley . . . High 
Screen Writers Guild source pre- 
dicted strike against Alliance, now 
in eighth week, will end in about 
a month, with an Alliance source 
agreeing on prediction as both 
sides continue resumed negotia- 
tions on “harmonious” level . . . 
Paul Garrison of Workshop Pro- 
ductions inked Hugo Haas to intro 
series, “Love Scenes,” after finaliz- 
ing angeling of first group of 39 
15-min. telepix . . . Mercedes Mc- 
Cambridgc stars in pilot patterned 
after her AM show. “Defense 
Attorney.” shooting at General 
Service studios, with Fletcher 
Markl-e directing . . . Tom D’An- 
drea, Marjorie Reynolds, Wesley 
Morgan and Eugene Sanders inked 
for roles in “Life of Riley,” star- 
ring William Bendix, being shot by 
Tom McKnight at Hal Roach lot 
for NBC, Abby Berlin directing. 
. . . Howard Chuman cast in “Fire- 
side Theatre,” Keye Luke and 
Richard Loo in “Big Town.” 


Schlitz beer is setting a new deal 
for its “Playhouse of Stars” on 
CBS-TV for the fall, with pact ex- 
pected to be signed later this week. 
New production outfit will be used, 
with budget upped considerably 
and more big names starred in the 
half-hour vidpic dramas. 

Current series, with Irene Dunne 
as narrator, comprises a group of 
pix turned out by Edward Lewis. 
This was summer fare and the new 
group, which will start next month, 
will have a more expensive layout. 


CARMEL MYERS PREPS 
VIDPIX, RADIO SHOWS 

Former silent screen star Car- 
mel Myers, who recently set plans 
for her own indie package outfit, 
lias three shows now underway, 
headed by “Cradle of Stars,” a vid- 
film series. Pilot was lensed last 
week, with Gregory Ratoff direct- 
ing and George Stoetzel as cam- 
eraman. Show, scripted by Robert 
St. Audrey, is a talent showcasing, 
local Jed in Miss Myers’ Park Ave- 
nue, N.Y., home. 

Former actress, who’s the wile 
of Paramount distribution chief 
A. W. Schwalberg, also purchased 
rights recently to a collection of 
the late Mark Hellingers stories 
and lias waxed a half-hour radio 
series . titled “Mark Hellinger 
Tales.” Edward Arnold stars as 
narrator, with Sherman Marks di- 
recting. Third show planned by 
Miss Myers is a quarter-hour radio 
show co-starring Blossom Seeley 
and Benny Fields (Mr. and Mrs.). 


ItECOStBS 


P^JSTEff 


‘Wednesday, October 1, 1952 


28 


22,000,000 Phonos of All Types 
Used 186.000.000 Disks In ’51 


By J. B. ELLIOTT 

(V, P., RCA Victor Consumer Products ) 

“Music You Want When You Want It” is widely 
known as an RCA' Victor slogan — but it is more than that. 
It is the explanation of the phonograph industry's past 
success and the assurance of its future. 

In the half-century since Eldridge R. Johnson created the 

Industry by "selling” the American public on the talking 
machine as a home entertainment instrument, this industry 
has been beset by three major economic depressions, two 
world wars, and the rise of three giant competing enter- 
tainment media — films, radio and television. 

To those who know the romantic history of the business, 
its record of repeated triumphs over competition "and eco- 
nomic crisis is assurance enough that you can’t keep a good 
business down. 

This is not only a good business, but one whose product 
has become an integral part of the nation’s cultural life 
and entertainment. The phonograph has achieved this 
status by providing for more than 50 years of service ‘ 
offered by no other entertainment media — a service which 
gives the consumer /an unlimited choice of musical, selec- 
tions, artists, and listening time. It is the only medium 
which provides the music lover with the music^he wants 
when he wants it. 

Equally important, the medium continues to offer more 
and more value for the consumer dollar. Continuous re- 
search has produced phonographs and records to a new 
high level of technical development and at the same time 
lower cost to the consumer. Artistically the medium of- 
fered the nation’s music lovers a greater variety of musical 
selections and talent than ever before. Popular recognition 
of* this increasing value is reflected by the tremendous 
postwar growth of the medium. 

Today, the record and instrument business is bigger and 
more profitable to dealers than ever before J in .its long 
history. Much of its increasing prosperity stems from the 
influence of supposedly competing entertainment media. 
The movies, the radio, and television, reaching tremendous 
national audiences, have served to create a demand for all 
types of musical selections and the talents of numerous 
singers, instrumentalists, and orchestral organizations. 
This demand can be served only by phonograph records. 

J Sale s Figures* 

Those who understand the business know these facts. 
For those who don’t, sales figures tell the same story. 

Last year, for example, the ^nation's record dealers sold 
more than 186,000,000 records of all types. The vast amount 
of recorded music this figure represents is increased by 
the inclusion of numerous 33 V& rpm disks, some of which 
are equivalent to approximately five of the 45 or 78 rpm 
types. •’ m 

The increase in home phonograph sales is equally re- 
vealing. Available figures disclose that the number of 
record-playing instruments in American homes has nearly 
tripled since the end of the ivar. As of Jan. 1, 1952, there 
were nearly 22,000,000 phonographs of all types in use. 
In 1946, there were only 8,000,000. 

These figures are more eloquent than any word descrip- 
tion of the sales strength of the phonograph and record 
industry. They show that the record and instrument busi- 
ness today is a bigger business than it ever was, even in 
the days when it was virtually the only home entertain- 
ment medium available to the public.. 

Today, the general public is more music-conscious than 
ever before, thanks in large measure to the tremendous 
promotion given new and old musical selections by pix, 
radio, and TV, Then, too, dramatic technical advances in 
the recording art and reproducing equipment have focused 
national attention on the phonograph. 

. We at RCA Victor know — and sales figures prove the 
pdint — that the introduction of the 45 rpm system in 1949 
served as a stimulant to the record and phonograph busi- 
ness in general. Public interest in this new development' 
generally increased store traffic and lod to sales of both 
the new system and conventional types of phonographs 
and records. 

The 45 rpm system has been commercially available only 
since April, 1949. By the beginning of 1952, however, there 
were in use in American homes more than 8,000,000 in- 
struments equipped to play the new 45 rpm playing instru- 
ments as there were phonographs in use at the beginning 
of the postwar period. v 

■■ 'Today,- the niusic \yg.want when* we want it is enhanced 
by greater fidelity, convenience, and economy than ever' 
before. These are the advantages which assure the future 
of the phonograph industry. 

‘Preacher and Bear’ 

British customers have always taken to American 
humor better than Yanks cotton to the John Bull 
brand. 

In early years of this century, Columbia and Edison 
records of LJ. S. origin were also sold in Britain, sup- 
plementing others made in the British Isles for home 
trade. The Gramophone Co. also imported many 
popular Victor recordings. 

One of these was Arthur Collins'’ Victor waxing 
of ‘‘The Preacher and the Bear,” which came out in 
1905. Collins waxed the song for all companies, and 
it appears to rate as the all-time, oldtimc pop record. 
Majority, of elderly persons, recalling early experi- 
ences with the phonograph, will mention “Preacher 
and the Bear” as the platter (or cylinder) they re- 
member most vividly. 

At any rate, Gramophone thought it worth import- 
ing. But, fearful that the British public wouldn’t 
understand the blackface dialect and would be puz- 
zled by the humor embodied in the story of the Ndgro 
preacher who was treed by a grizzly after/going 
hunting on Sunday, each record was accompanied by 
an explanatory leaflet — so the purchaser would know 
when to laughl 




Coin Machine Biz Grows Up 

-r^__B y JAMES J. LENNON ■■== 

(Coin Operators Sales Manager) 

The coin machine industry now stands on the threshold 
of what may well be the most profitable period in its 
history. Several outstanding developments have hypoed 
the progress and national acceptance of the jukeboxes 
since the inception of the automatic coin machine in 1934. 
One of the latest has been the introduction of the 100-play 
machine. Equally important is the introduction of the new 
speed 45 rpm into these machines which offers exception- 
ally strong service advantages. These advantages inevitably 
make the 45’s the coin machine system of the near future. 

As an economical factor in servicing of the jukeboxes, 
the 45’s represent one of the most important strides in the 
industry and one which has a permanent basic value. Such 
attractions as the compactness and simplicity of the “45” 
equipment, the non-breakable feature of the 45 rpm disks, 
and the overall advantages of the small, wafer-thin records 
in storing, handling and shipping, have a proven value, 
-.particu.larly_^daptable. to. the coin ops’ needs. 

The 550,000 jukeboxes throughout the country use aii 
average of $5 records per machine and it takes 19,250,000 
records to fill these machines only once. With an estimated 
total 50*000,000 records used since their inception, coin 
machines represent the greatest single disk market in the 
country. Their continuously growing adaptation to the 45 
rpm speed is vitally important both to the promotion of 
45’s and to the future of the coin ops’ business. 

* The new model machines, with their 100 and more disk 
choices are a far cry from the first Edison “coin machine” 
back in 1880 when listeners first put their money in a slot 
to hear screeching, parrot-like noises through a speaking 
tube. The business-like operation and efficiency which now 
characterize the industry also is a far cry from the early 
haphazard merchandising methods once typical of the in- 
dustry. Closer attention now is paid to frequent servicing 
of the coin machines, with thorough, systematic checkups 
assuring the customers of the latest hits and the coin ops 
the maximum .of plays. The formation of the Coin Oper- 
ators’ Association, and of the national association, Music 
Operators of America, Inc., publication of trade magazines, 
a strong basic economic structure, now have made the 
coin machines a growing “small business” with the oper- 
ators typical “small business men.” 


For All Tastes ♦_[ 

Today the top jukebox hits represent all tastes. They 
range from country-music favorites through the current 
Latin-American vogue with “Delicado,” “Kiss of Fire” and 
“Blue Tango,” to the show tune, “Wish You Were Here,” 
and the sweetly sentimental “Auf Wiederseh’n Sweet- 
heart.” The jukeboxes occasionally have been instrumental 
in the making of new artists and also in keeping the estab- 
lished artists of calibre in the foreground. 

The unfreezing order for 2,000 more television stations 
by the Government is also expected to herald a new era of 
expansion for the industry. The new TV medium will hypo 
a new interest in records. The big TV audiences will be- 
come increasingly aware of the new songs and new artists. 
Stimulated by seeing them on television, the public will 
want to hear these new artists again and again on records. 
Similar to the new popularity of radio in 1934, which 
brought about a great revival of interest in popular music, 
now the only way the public can hear their new favorites 
as much as they want, will be to play them again and again 
on phonographs at home or jukeboxes, in public. 

With the new television era, the introduction of the 45’s 
to coin ops and the new 100-selection machines, the indus- 
try is in a new period of expansion with far-reaching 
results. 

*'■' 1,1 nmm — 

* 

Old A&R Men Never Lie, 
They Just Fake Away 

It’s a great song but I have no one to do it with. 

I can’t use it, but it would be great for Como or Nat 
Cole. 

Don’t show me 10 songs — which one is your plug song? 

Tear up all the other copies, I must have an exclusive 
on this (six songs at six companies) 

I’ll give you a great record with a new artist we just 
signed — it’ll make the song and the artist. 

Now all you have to do .is order 3,000 vinies and take 
10 ads. 

We made a great record for you, but I don’t think 
we can get it out ’til 1967. 

If this isn’t a smash record, I’m going out cf the busi- 
ness. 

Would you be willing to go far half the expense of 
the date — for three trombones ... for two trumpets . . . 
for one French horn? 

I did all I could but he just didn’t go for the song. 

We’re sending out 5,000 disk-jockey records, but why 
don’t you buy some? 

The record is already over half a million and it’s just 
starting (statement time shows the record went about 

5,000.) 

Had to take your song out, just got a flash on a 
“sleeper” breaking in Manitoba. 

“Why don’t you show me a class ballad?” (when you 
have a real cornball). 

“Why don’t yqu show me a cornball tune?” (When you 
have a class ballad). 

(signed), 

Joe Anonymous 

(Do you think I’m crazy?) 


$500,000,000 Music Biz 

“What hath God wrought” was Samuel Finley Breese 
Morse’s historic exclamation' when he invented the tele- 
phone i.e. before Don Ameche did it for Zanuck. Less 

dramatic and probably unprophetic was Thomas Alva 
Edison’s recitative, “Mary had a little lamb,” when the 
first phonograph recording was made in 1877. Morse’s 
aphorism might well be applied to the record business 
today. 

American know-how and economic savvy have moved the 
“screechbox” into what is estimated to be at least a $200,* 
000 000 gross annual business. There is no question that* 
by the nature of things, with recorded music in all its 
forms, and sparking the many contiguous aspects attendant 

thereto ballrooms, theatres,' niteries, Hollywood filmusi- 

cals ASCAP, BMI, et cetera — that the overall music 
reaches a $500,000,000 annual mark. 

This is the Diamond Jubilee of Edison’s invention and 
the Golden Anniversary of RCA Victor’s half-century of 
progress, but this special number of Variety — a show 
biz first in many respects — reflects a mass entertainment 
industry that exceeds such time-honored boxofflce institu- 
tions as sports and the theatre in grossing power, and is 
right up there with Hollywood and the networks as a vol- 
ume business. It may be said that Records and Phono- 
graphs now constitute a cradle and fountainhead for al- 
most every aspect of Show Biz. 

The universality of music is such that, in its modern 
under-$l “production,” it can be packaged around the 
world. Maybe the future may even see that package re- 
duced to something as space-saving as tape-recording, or 
whatever else it is that perhaps General Sarnoff hints at 
in...his article. But it is also true, as RCA prexy Frank M. 
Folsom so aptly puts IfT now thait the industry has- -ehartedr 
its course and has achieved such signal results in raising 
the American cultural standard, the industry’s prime ob- 
ligation is to maintain standard and preserve quality. 

Call it this merchandising skill, obligation to your pub- 
lic, hallmark of quality, call it anything— or also let’s just 
call it showmanship. 

“It’s in the groove” is the best answer to everything. 

Shakespeare said it with his nifty about “all the world’s 
a stage.” Today all the world’s a big show, and salesman- 
ship is only another word for showmanship. 

It was show-wise, for the industry to dramatize the rec- 
ord industry with the now historic “battle of the speeds.” 
What it dicDwas to upset the status quo and revitalize an 
industry w-nose status was too static. It needed a hypo. 
The hassle about 78s or 45s or 33s did it. It put the busi- 
ness before the public with a resonance not to be found 
in any echo chamber. What Berliner did to improve on 
Edison; and Eldridge R. Johnson, in the pioneer .Victor 
Talking Machine Co. days, did to improve on Emife Ber- 
liner, Sarnoff-Folsom did to hypo the modern record 
business. 

In the same manner of progression, a new showmanship 
has come into the industry. Just as Johnson gave Victor 
stature with his daring signaturing of Caruso (and later 
the greats of the longhair circuit), and thus took the 
home phonograph out of the novelty and “toy” category 
into an instrument of classical interpretation, so have the 
artistic production brains of the industry advanced in re- 
cent -years. Paralleling that has been the development of 
merchandising and exploitation values. A phonograph 
record today is a carefully planned production. As much 
thinking goes into that 2Vfc-3 minutes of waxed musical 
“production” as in a larger project because the end results 
reach an audience and have an effect on a cross-section 
perhaps far in excess of a book, play or film.’ 

A 

Just as the to-do about the “speeds,” so, too, has the 
recent concept of echo chambers, freak sound effects, 
vigorous vocal pyrotechnics and wierd “new sounds” have 
impact on the paying public. Just as TV’s inroad on Hol- 
lywood has resulted in a challenge to produce improved 
quality film product, all the intra- and outer-trade kid- 
ding about whistles, cracking of whips, cracking of 
^knuckles, clacking of bones, handclappings, whiplash 
noises and echo chambers dramatized anew the wide scope 
for new sound values on vinylite and wax. 

For the first time, as a matter of trade journalism, 
there is reflected herein, through the 75-yeab celebration 
of Edison.’s invention and the 50th milestone in Victor 
annals, a comprehensive saga of a new industry that has 
come a long way. Focused around Victor’s trademark, 
none the less the same holds for every diskery in the 
business. The statistics are staggering; the information 
revealing. The ratio of the new (almost) 6,000,000 all- 
speed players against the 16,000,000 “old school” 78s is 
vital, and particularly so when it is footnoted that the 

6.000. 000 new players do 80% of all the records sold 
nowadays. These are the most active machines. The ortho- 
dox yesteryear 78 rpm equipments are only the casual 
buyers, of “must want”_platters. The new speeds create 
the store traffic. And it’s because of that store traffic’- 1 — 
once you get ’em ip. they’ll buy simething else also — that 
every diskery needs that current pop hit, or else. It’s 
these hot faves that spark the rest of the catalog and give 
accent to this or that dealer. The public, more show-wise 
than ever before, no longer buys the brand — it buys the 
interpretation. Labels from the Ozarks and left field wind 

SPni 1184 . 38 often on the bestsellers as the majors. The 
550,000 jukeboxes in the U. S. don’t care for the label as 
much as for the unique styling of this or that platter. 

^ ie looms potently and importantly. He can 

lay on an artist and send him from $75 to $7,500 and 
$10,000 a week, as in the case of Johnnie Raj' — and also 
can destroy a personality just as fast by laying off. 

The development and the legends of the biz have been 
generously traced in this issue both by I^CA and this 
paper s staffers, and notably by diskologist Jim Walsh 
whose rich fund of phono lore is generously spotted 
throughout this edition. As with most enterprises, not 
always do the pioneers enjoy the fullest fruits of their 
labors. Opportunists come along and frequently improve 
on the labor pains of the early adventurers. Victor has 
been one company which has both pioneered and pros- 
pered with ther progression of time. The phonograph and 
record business is rich enough for many to flourish. The 
intrinsic popular price of the basic commodity is suffi- 
ciently appealing to place no embargo on any company. 
There is no ceiling on talent — and there is no ceiling on 

1.000. 000-copy bestsellers. Fortunately the disk biz has 

had a ‘generous portion of these of -late. Abel. 


Wednesday, October 1, 1952 


PBSzmff 


iraroiiBS 


29 


There’s Nothin 



More Permanent Than Change 


The Constantly Improved Electronic Recording 

Techniques Fully Attest to That 


From Caruso to Toscanini 

By ALAN KAYES 

( Commercial Manager , Red Seal Records ) 



Alan Kayes 


Few books for diskophiles offer data which highlights 
tbe development of .the recording art as effectively as a 
complete set of RCA Victor catalogs. Side by side they 
embrace a period of approximately 50 years of recording 

activity. Any one volume, chosen at 
random, is a virtual Who’s Who in 
Music for the period it represents. 

Equally fascinating is the recording 
data in RCA Victor’s' Camden head- 
quarters, where card index and re- 
cording sheets serve as ready ref- 
erence guides to thousands of masters 
stored in the company’s vaults. 

The catalogs, the recording data 

-and — the ori ginal — masters — arc the 

triangular base of the disk pyramid 
built by Eldrigde R. Johnson? founder 
of the Victor Talking Machine Co., and 
its successor, RCA Victor. What gives 
the pyramid its permanence and solid strength are the 
artists — in Johnson’s time as today, the box ofice titans of 
the music world. 

Johnson believed that only great musical talent could 
transform the phonograph record and player from a toy 
to the greatest medium of home entertainment this coun- 
try had known up to that time. Caruso was willing to 
lead the parade of great artists who proved the Johnson 
theory. Caruso accepted outright payment for his first 
recording efforts for Victor in 1903. Thereafter he ex- 
pressed a preference for royalties His business acumen 
was as sound as his artistic judgment. 

The artist and his estate have received more than $3,- 
500,000 in royalties to date. In 1909 Caruos drew up his 
own contract with Victor— a sketch of himself and a hand- 
written commitment to record only for the Victor com- 
pany for life. In the same year Johnson was head of a 
multimillion rapidly expanding business, built on his con- 
viction that the phonograph record could be a great 
medium of home entertainment if the boxoffice names of 
the musical world could be persuaded to make records. 



Gen. David Sarnoff 


Symbol of Artistry 


Through Caruso, Johnson achieved his objective in one 
quick move. Thereafter the Victor Red Seal label became 
identified in the public mind with great names and superb 
artistry. Caruso’s colleagues at the Metropolitan Opera 
were soon singing into acoustic horns in a small studio 
in Carnegie Hall. John McCormack made his first Amer- 
ican records, quickly followed by instrumental virtuosi — 
Elman, Kreisler and Zimbalist, Rachmaninoff, Paderews- 
ki. Rosenthal and Lhevinne. The Carnegie Hall debut of 
16-year-old Jascha Heifetz was followed shortly thereafter 
by his debut on Red Seal records. In 1916, the year be- 
fore Heifetz’s American debut, the Boston Symphony made 
its first Victor records with Karl Muck on the podium. 
In 1921 Toscanini, no stranger to American operatic and 
symphony audiences, but reportedly averse to mechanical 
music, made his first records for Victor. Like many of his 
colleagues, he has never recorded for any other phono- 
graph label. 

Within a decade thereafter the RCA Victor Red Seal 
roster had become the Blue Book of world musical talent 
that it has remained ever since. A group portrait in oil, 
used for national magazine advertising in the mid-’30s 
showed, among others, pianists Vladimir Horowitz, Jose 
Itrubi. Artur Rubinstein, Rachmaninoff and Paderewski. 
The violinsts included Elman, Heifetz, Kreisler, Menuhin 
and Zimbalist. Among the conductors were Koussevitzky, 
Stokowski and Toscanini. Opera stars included Flagstad, 
Tibbett, John Charles Thomas, Gladys Swarthout -and a 
number of equally famous Metropolitan Opera colleagues. 
Show business says beware the fickle public. But the 
record business is unquestionably a facet of show busi- 
ness and sales of classical records reveal that the public 
is remarkably consistent and loyal in its buying habits. 
Artists who were top sellers on disks one, two or three 
qecadcs ago. continue.. to. dominate. ...in ..today’s market. 

1,10 unique artistry of a Caruso, who led the parade 50 
y ears ago, or the preeminence of an octogenarian Tos- 
camm, who heads the parade today after more than 30 

jeais of disk making, are adequate proof without laboring 
the^ point. 

I* or 50 years and more, from Caruso to Toscanini, the 
puhl ic has remained loyal to a label which has symbolized 
u iir."° r ^ s greatest artist performing the music you want 
fi „£, n y°u .want it. That’s a hard combination to beat, 
fl( kle public or no. 


Couldn’t Equal Victor Trademark 

One thing that no other platter-maker ever has been 
a no to do is find a trademark with the appeal of “Nipper,” 
ine familiar Victor dog listening to the hand-cranked 
machine with the little brass horn. 

t . „ l oas ^ one 0 ^er firm tried the animal approach. The 
^M'aphone Co., makers of Lyric records around 1918-20, 
snowed a white cat sitting on a record, with the slogan, 
^ever scratches.” The Zonophone Co,, controlled by 
victor, for several years used a chubby baby boy listening 
a Zonophone machine, with a broad smile on his face, 
t olumbia’s trademark was a musical note, with the 
fording, “Note the notes.” Edison at one time used a pic- 
ture of an old couple listening to a cylinder machine (the 
h i f, ent k a< * his hand cupped to his ears to hear better), 
r> 1 u ^^mark was a photo of Thomas A. Edison. 

miaps the most successful approach to Victor's dog was 
le i alhe red rooster, still familiar in the movies. 


By Brig. Lrenerai DAVID SARNOFF 

( Chairman of the Board of RCA ) 

With the advent of a new invention the question natu- 
rally arises, What is its future? It is axiomatic throughout 
the history . of invention that a new instrument survives 
as* long as it can perform a service that no other instru- 
ment can do as well or as inexpen- 
sively. Also, inventions must keep 
pace with progress through improve- 
mentg and be able to meet new com- 
petition. 

There are many illustrations of this 
observation — the horse and buggy and 
the automobile; the cable and wire- 
less; radio broadcasting and televi- 
sion; and, of course, radio and the 
phonograph. 

In the 1920s it was argued that peo- 
ple would not go to a movie that 
would make a lot of noise and bellow through an amplifier 
and disturb the slumber of* those who enjoyed the silent 
movies. That, they said, was a preposterous idea! The 
-ve ry - virtue o f- the silent pictures they oon te-n4e4 r its 
silence! And then — in 1927 — came Warner Bros, with the 
“Jazz Singer” and A1 Jolson. Almost over night a new 
industry was born; the silent actor became vocal, the silent 
picture was given an electronic tongue, Result? A new 
and greater motion picture industry. 

When the “radio music box” appeared in 1920 and the 
waves of radio began to wash upon the beach of entertain- 
ment, some believed that the phonograph would be washed . 
up on the sands of time as a derelict. But there were 
those who thought differently. They looked upon radio 
as a fad and a passing fancy. They argued that radio 
could never compete with the phonograph in tonal quality 
or artistry. I remember when the Victor Talking Machine 
Co. — and those who founded it did a great job in their 
day— could not understand how people would sit at home 
and listen to music that someone else selected for them 
to hear. They contended that music on the air would be 
infested with static; they rated the “radio musiq box” 
and radio broadcasting as a mere toy. Result? Not many 
years passed before RCA acquired the Victor Talking 
Machine Co.; the little terrier “listening to His Master’s 
Voice” changed its master, and a greater phonograph in- 
dustry was built. 

Radio electronized the phonograph and greatly revived 
its popularity and the business. Although the Victor Talk- 
ing Machine Co. passed into radio hands, more phonograph 
records are made and sold today than ever before. And 
the phonograph, through its magic association with elec- 
tronics, has kept pace with progress. It has successfully 
met the challenges of radio and television. The instru- 
ment itself is not only improved, but electronics has revo- 
lutionized the techniques of recording so that there is no 
comparison between a record of the 1925 vintage and those 
of 1952. 


Revitalized Masters 


In its association with radio and electronics the phono- 
graph has been imbued with the modern spirit. Today, it 
, bears no resemblance in appearance or performance to 
the hand-wound instruments that once reproduced, through 
large tin horns, such voices of distinction as Caruso, Mc- 
Cormack, Gluck, Chaliapin and many others. Electronics 
has revitalized these famous voices and has re-recorded 
them for the “Treasury of Immortal Performances.” No 
symphony orchestra presents too great a challenge to mod- 
ern recording, as evidenced by the magnificent music 
recorded by maestro Arturo Toscanini directing the NBC 
Symphony Orchestra. 

Today the phonograph has more than one speed — the 
turntables revolves at 78, 33V6 and 45 rpm. Nevertheless, 
in 1949, when the “45” introduced the quickest record- 
changer ever devised, featuring small unbreakable disks, 
the cry went up in some quarters that the public, as well 
as the industry, were being confused. It was apparent that 
therfe were still some within the industry who had not 
learned the lessons of the past. They resisted change. 
They would cling to the old — the 78. 

Yet this development of the “45” represented “the great- 
est advance in 50 years of recorded music.” It set a new 
standard of musical enjoyment in the phonograph field. 
Up to now approximately 175,000,000 “45” disks ha.ve been 
produced by the phonograph industry as a whole. New 
•“Ep >i __or "Extended ' Play j “45” reeords^-reeently intro- 
duced by RCA Victor, play up to eight minutes to a side 
or a total of 16 minutes for each disk. They are the same 
size and operate on the same turntables at the same speed 
as standard 45-rpm records. 

The phonograph is by no means restricted to home enter- 
tainment or to the popular role it plays in radio through 
disk jockeys and broadcast concerts. Along with elec- 
tronic recording it links the present and the future with 
posterity by recording historic voices and messages. For 
example, President Roosevelt's “Day of Infamy” address 
to Congress asking for a declaration of war upon Japan; 
Prime Minister Churchill’s wartime messages to the Com- 
monwealth; and long to be remembered is King Edward 
VIII ’s abdication, all of which were recorded as they 
were broadcast. Had the phonograph been available in 
Lincoln’s day his. delivery of his Gettysburg speech would 
have made an historic disk; also Washington’s . Farewell 
to his troops as well as all Presidential inaugural addresses, 
in the voices of the Presidents, would have been preserved 
for all time. 

Today the usefulness of the phonograph both as an 
instrument for, the home and In portable form provides 
convincing evidence of a promising future that will be 
much greater than its past. But those in whose hands 
its destiny rests must be alert to new developments in 
science that will continually improve it as a musical instru- 
ment and as a service to the public. 

Because of its alliance with science, the phonograph will 
change just as radio and television designs change from 
time to time And as long as the phonograph can perform 



Frank M. Folsom 


Disks Most Directly Upped 
America’s Cultural Tastes; 
Now Must Preserve Duality 

By FRANK M. FOLSOM 

( President , Radio Corp. of America ) _ 

With the completion of 75 years of phonograph history, 
all of us concerned with records should consider three 
vital questions: wjhere we are; how we got there; where 
we’re going. 

One think is clear — the industry 
has enjoyed a healthy growth, with 
records now the mainspring of the 
entire music business. 

There are nearly 22,000,000 record 
players in American homes, and more 
are going into homes every day. Rec- 
ords have become the backbone of 
radio programs. They provide enter- 
tainment, instruction and education 
for children and adults alike. Record- 
ings of every type, in every language, 
are available throughout the world. 

Many of the artists now featured on 
radio and television shows got their 
start through records. Personalities realize the importance 
of records in building top show names. 

The record business did not always enjoy such an im- 
portant status, however. We might have very little to cele- 
brate on this anniversary if, at the turn of the century, 
some changes had not been made in the small machine 
whiclrwas in use at that time. 

Those changes resulted in the introduction of quality. 
Records had been more noise and scratch than music. The 
artists who performed on them were, for the most part, 
mediocre and unknown. People who bought them did so 
more from curiosity than to enjoy good music. 

Greater quality technically, through Emile Berliner’s and 
Elridge R. Johnson’s early patents, and artistically, as rep- 
resented by the signing of Enrico Caruso, was the key- 
stone on which the whole new home entertainment field 
was built. Steady improvements in that main ingredient 
have kept the industry alive and growing. 

More recently, records have played their part in the 
building of a vast appetite for serious music in America. 
For example, during the past 10 days more people have 
been going to concerts than ever before. The public de- 
mand for artists' personal appearances has increased tre- 
mendously. During the last decade the number of sym- 
phony orchestras in the United States has nearly doubled. 
All these are indications that America is reaching cultural 
maturity. 

This great growth of interest in music, while offering an 
encouraging new market for records, at the time presents 
the record industry with its greatest challenge. Concerts, 
movies, radio, television and records are providing a musi- 
cal education for more and more people, with the result 
that there is a demand for more and better records. 


More Exacting Tastes 


i 


People who have grown to know and love music have 
developed exacting tastes. They don’t want just any music 
because much of the appeal of music lies in the perfection 
of its performance. Music lovers know what to expect in 
the execution of an aria or a concerto or a symphony. Those 
who attend a concert performance by a great orchestra 
and conductor cannot be expected to accept anything less 
in a phonograph recording of that' same music. 

Artistically, the position of RCA Victor has never beer 
challenged. Since Caruso first sang into the recording 
horn 50 years ago, it has always been true that “the world’s 
greatest artists are on Victor records.” The names of Tos- 
canini and Horowitz and Heifetz and all the other musica 
leaders are as much a part of Victor as the trademark “His 
Master’s Voice.” 

- Recorded musicals a .unique combin at ioc.-of science anc 
art. An outstanding artistic performance, whether in the 

a distinctive service that no other instrument provides 
i.e., reproduce “Music You Want When You Want It,” 1 
will continue to thrive. 

Fully aware of the potentialities and promises of elec 
tronics, it is safe to assume that the phonograph of 2! 
years hence will be an entirely different machine as com 
pared with the finest instruments oi today. New styles o 
instruments with new types of records will make musi< 
truer and truer to life as scientists and artists work to 
gether to provide the public with the best that humai 
ingenuity can achieve. 

popular or classical field, must go hand in hand with out 
standing technical production in order to achieve perfec 
tion in recorded music. 

The coming of the new speeds four years ago brough 
about a revolution in the industry. Far from confusing am 
frightening the buying public, as many prophesied, the ne\ 
speeds provided the necessary technical advancements t 
spark a whole new^interest in records as a medium of hom 
entertainment. Something better was offered and peopl 
wanted it. 

With the enthusiasm now being shown for more an 
better record merchandise, it would be impossible to fore 
see anything but continued growth for the industry. 

But in our eagerness to sell that market, let us not foi 
get that quality has been and must always be the mai 
ingredient in our product. 



3G 



Wednesday, October 1, 1952 

"" ~ ■ "" H 


No Flags For The Opposition 


^Vietrola’ Gets she Works But No Qualms 
About Some Pretty Frank Commercials 

on Platters 

By J. W. JEFFERSON 

Decades ago, Hue industry wa.s a rythr^ai busi* 

ihws with everybody trying to knife' the opposition. ?«ow- 
cdlays the Record Industry Association i;f America m work- 
ing riot only to solve trad* problem)?,, such as heivy taxa- 
tion and what to do about all these different speeds, Xu\ 
also to establish uniformity in recording technique*, md 
give industry gilt-edged public relations. 

This brotherly love must give a laugh to the few old- 
timers still buzzing around the business. In the old days 
the different companies did everything in their consider- 
able power to make sure the opposition didn’t get free 
publicity. That went double for blurbs on platters. 

Back in 1909, George Whiting, Irv.ng Berlin and Ted 
Snyder tossed up a hit, “My Wife’s Gone to the Country 
(Hurrah! Hurrah!)’’ Third stanza tells of how “Mr. 
Brown” was so happy at his wife's having high-tailed^ to 
the hinterlands that he made a record proclaiming his joy. 
Every evening thereafter “the neighbors heard ».h» same 
old tune on Brownie’s gramophone ” 

Forty odd years ago Edison and Columbia mad?; cylinder 
phonographs on which home recording could be done, but 
Victor's »disk apparatus lacked home recording feature. 
So the Columbia and Edison record? included fc&at third 
verse, but Victor didn’t. The recording artists, Arthur 
Collins and Byron G. Harlan, skipped the refer e no# to Mr, 
Brown (no doubt under orders), thus giving Victor a short 
platter. 

T tieding Around Wic trola’ 

Bat more often than not, it was other companies who 
suppressed Victor refeiences. When the Victroia was in- 
troduced in 1906 as the first talking machine with an 
internal amplifying system, instead of a big external 
morning glory horn, it became the standard of comparison. 
Housewives who liked elegant furniture considered it as 
much of an improvement over the big : horn “talker” as 
an inside bathroom was over an outside Chic Sale. The 
trade name became so well known that millions of citizens, 
thinking “Victroia” more swanky than “phonograph” or 
•Talking machine," applied the name to any .sort of sound 
reproducing device, regardless of who made it, and thus 
caused Victor mingled pride and anguish. 

Victor got a big musical plug in 1914 when Grant Ctertor- 
and Maurice Abrahams wrote “They Start the Victroiii 
(And Go Dancing Around the Floor).” Opus cashed in 
on then current craze for terping at home to canned nvusK 1 - 
Victor had its most popular comedian, Billy Murray, record 
the number. But did Edison and Columbia touch it? No! 
Murray had a contract making him exclusive tc Victor for 
disks and tn> Edison for cylinders. It’s likely Edison offi- 
cials gave him some dirty looks for recording that Victroia 
song. 

In 1918 the late Louis' J. Winsch made a Paths record 
of a nrobabiy • ~iit£n-to-o?‘der ditty, “ A,t Home V“* ! : Mr 
jpathephone.” ii was not recorded by any other jmpany. 
Nor did Columbia’s rival disturb its monopoly of “The 
Columbia Phonograph Company- March.” 

*CW»l e Josh Btaya a Vietroly’ \ 

Cal Stewart’s “Unde Josh” talking specialties about - 
the joskins, who lived in the New England hamlet of 
“Punkin Center,” were among the biggest sellers In record 
history. Usually* Stewart would make each of his skits 
for all the companies, but when he thought up “Uncle 
Josh Buys a Victroia” In 1919, it found no takers except 
Victor. And when another specialist in red-brush humor, 
Charles Ross Taggart, came through with “Uncle Zed Buys 
a Graphophone'' he had no chance of recording it for any- 
body other than Columbia, whose instruments were known 
as “graphophones” and “grafanolas.” (Oddly enough, 
while the pseudo-cultured made a generic use of “Victroia,” 
the average illiterate or semi-literate American called 
every kind of reproducing device a “graphophone.” Those 
who knew what they were talking about preferred “phono- 
graph.” “Victroia” never caught on in Great Britain, 
wh ere a disk instrume nt has al wa ys been a “gramophone.” 

M ore Victroia Substitution ? 1 

In 1918 Harry DeCosta wrote “That Soothing Serenade,” 
with the line, “Now my Victroia plays all day that melody 
through and through.” Henry Burr sang it for Victor, but 
nearly every other company said, “No, thanks.” Burr did 
record the song for Palhe under his real name of Harry 
McClaskey, but a substitute word was found for “Victroia.” 

.. -BaJlard Macdonald and .Nat Vincent wrote “My Old 
New Jersey Home” for the 1921 ‘production of '’'The’Tiose 
Girl.” When Murray sang it for Victor he retained “on 
the windmill there’s a big Victroia shown.” But Jack 
Norworth, pacted exclusively to Pathe, changed it to “and 
the windmill represents a Pathephone.” 

P, G. Wodehouse and Jerome Kern came through with 
"‘Nesting Time in Flatbush” as one of the numbers in the 
1917 musicomedy, “Oh, Boy!” The second chorus on the 
Victor said, “The neighbors play Victrolas there each night 
till after three.” On Edison it became, “The neighbors 
play ‘Poor Butterfly’.” 

The MacDowell Sisters made an Edison disk of Marion 
Sunshine and Henry Marshall’s “Baby Sister Blues.” What 
to do about “Ma says, ‘Stay home and play your Victroia’?” 
They changed it to “Ma says, ‘Stay home and play your 
Edisonola” — which was ludicrous since Thomas A. Edison, 
Inc., always referred to its instrument as “the New Edison” 
and poked fun at machines with names ending in -ola. 
The Duncan Sisters recorded the same tune for Victor and, 
of course, said “Victroia.” 

] Goodby e', Am h’rol a! \ 

In 1926, Billy Jones, tenor of the Happiness Boys duo, 
sang for Edison a German dialect song, “Schultz Is Back 
Again With His Boom-Boom-Boom.” The second verse be- 
gan, “It’s goodbye, my Victroia, and farewell, radio.” 
Jones got by with changing Victroia to “AmbTola.” That 
put him as dose as the rhythm. would permit to “Ambe- 
rola,” name of the Edison cylinder machine which had 
become almost obsolete. 

One freelance, a really slick performer was Billy Wil- 
liams. The Australian comedian recorded for every com- 


Penchant for Clowning 

No other opera singer has had the same perennial 
appeal to the public imagination as Enrico Caruf-o, 
now dead more than 31 years. True, sales of tie 
tenor’s Victor waxings slowed to a trickle a few years 
ago but they came back strong last year after release 
oi "‘Great Caruso" flicker starring Mario Lanza 

Most people know Cams® was quite a comic and 
frequently upset the gravity of his Met associates ny 
mugging during supposedly Tragic scenes. But ft w 
know that the singer was an admirer <of such comedi- 
ans as Harry Lauder and Billy Murray. N. Y Daily 
Minor editor Jack La.H, who knew him web, says 
Caruso was particularly fond of pop tunes parti* ular<y 
oi sob bailed varU-iy, and Ihs rendition of such things 
« c * Tim Curse of an Aching was something 

to i cm/:-/ liber always. Moreover, It'iw iioil «,.tituoc 
that the pop song.\ he liked \v;:t superior musically *.o 
most operatic arias be sang. 

One source says tenor relished close-harmony ef- 
fects of American and Peerless Quartets and othi r 
recording ensembles, and that alter a rugged sessio n 
at the Met, he, Antonio Seotti and some of their 
opera cronies would gather around a piano and ha?- 
monize on such ditties as “I’m Alabama Bound” mo' 
the later “Alabavny Bound”) and ‘'Waitin’ foi tlr.e 
Robert E. Lee.” Caruso’s plattering of “Over Then “ 
did well during World War 1. 

On one occasion at least Caruso sang bass, Du^irg 
a production of “La Boheme,” Andrea de Segurola’fl 
voice gave out, and Caruso, turning back to audience, 
substituted. For the fun of it, Caruso recorded tbe 
bass solo, but it wasn’t issued until New Yorx class- 
ical disk jock, Wally Butter wosth, got permission to 
put it on market' rbout four years ftgc». 


liraitttlBMNilMlUMIhnHlBaMIRinHMMMWMPnWKBpraniMMMMMIIIIflMWVtMMIIB 



Aft-Time Victor Topper 

Enrico Caiu&s) — tfi y&ars aft.r his death — still lates as 
one of RCA Victor’s top bestselling artists. 

Nearly 1,000, -000 Caruso records have been sold si we 
the introduction last year of RCA Victor’s first “Treasury 
of Immortal Performances.” and have since doubles! ihaf 
total. 

The total royalties earned by Caruso’s records. A »th 
during his lifetime and since his death, represent he 
largest single royalty figure accrued by any artist in TCA 
Viet t’s history. The total, $3,500,000, covers tine ?. ear 
bSOft through November, 1951, and is split almost evenly 
between the period in which he was alive r,nd the 30 
-tear* since his death. 

&o other artist in RCA Victor’s history has confirmed 
m remain so popular over such a long period of time, or 
has had such a sharp increase in popularity im one year — 
that year the 30th since his death. 

From the fall of 1903, when he made his first recordings 
in the U. S., until his death in 1921, Caruso leowrded ex- 
clusively for Victor. He received $4,000 for the first 10 
records, he made under the Victor label, and $10,000 tor 
”be hca( 10. 

Prior to T903, ht nad done s^me recordings for -he 
Gramophone Co. of London in Milan, the Zonophone Co., 
and the Anglo-Italian Gumm^rec Co. tii G^rooa. However, 
years later, upon being asked to writ* hia autobiography, 
Caruso replied: “My Victor records .-half bo my biog- 
raphy.” 

While living, Caruso earned $2,000.0($ft in ireeorA toy al- 
ties; since his death more than $1,500,000 has beer.. p;*id 
into his estate by RCA Victor. 

The history of the phonograph Industry is closely linked 
with Caruso’s career. Ever since he first put his gok’en 
voice on wax in 1903, giving the infant phonograph In- 
dustry the prestige It so badly needed, all the world’s 
great musical performances have been recorded. 

Last year, RCA Victor re-released some of the works 
of former standout artists in albums called a “Treasury 
of Immortal Performances.” They included more of Ca- 
ruso’s records than any other artist. Public reaction to 
the albums was overwhelming. Of the Caruso records 
alone, yearly 1,000,000 have been sold. This figure puts 
him easily among the top popular favorites of today or 
any day. 

As a result of the extraordinary sales of the Caruso re- 
cordings in the “First Treasury,” RCA Victor’s “Second 
Treasury” featured a complete album of “Caruso In Opt ra 
and Song.” 


pany in England before his death in X915, and was 
one of three Billy Williamses to become popular on rec- 
ords. There was a singer of “coon songs” by that name 
ip the .’90s, and-. Qf. course, there is the present-day Negro 
vocalist. “The Man in thie Velvet’ Suit” was probably the 
most popular recording artist during his lifetime that the 
British Empire has known. Often he wrote his own songs. 
One lie called “Let’s Have a Song Upon the Phonograph” 
when he made it for Edison. Afterwards, “phonograph” 
became “graphophone,” “gramophone” or “zonophone,” 
depending on the company he w as singing for. 

(___ Slipping i n th e Blurbs j 

Hucksters of 1952 may he surprised l.haFIncldentaFad^ 
vertising used to be sneaked into platters and “rollers.” In 
1916 Edison made “Christmas Morning With the Kiddies,” 
a “descriptive specialty” depicting youngsters trying out 
their toys. After a few performances on toy instruments, 
“Mama” says: “Now let’s hear Daddy's gift to us — a won- 
derful New Edison Diamond Disk phonograph!” There- 
upon you hear a New Edison playing a snatch of “Joy to 
the World.” And 10 years later, when Edison brought 
out a vertical-cut record playing 20 minutes to a side, Al 
Campbell and Jack Kaufman gave it a plug on their wax.ng 
of “Why Did Dr. Jekyll-Hyde?” by pretending they were 
at a show with a 40-minute intermission. “That,” Jatk 
said, “will just give us time to go home and play that new 
40-minute record of Thomas Edison’s.” 

There were even frankly sponsored advertising records 
in the '90s. The same Al Campbell once recalled that he 
made cylinders around 1896 for Ike Norcross, a pioneer 
New York phonograph man, which began with a spoken 
announcement to this effect: 

“Good morning. Have you had your Quaker Oats? Then 
you will enjoy hearing Mr. A. C. Campbell si lg ‘The School 
Playground’.” 


Of Temperamental Disk Artists 
And Even Mere So Canary Birds 

In 1907, records were used for the first time in a po- 
litical campaign. William Jennings Bryan and President 
William H. Taft expressed their political views on wax. 
Record stores used such advertising as Taft’s “Go In and 
Hear Mr. Bryan’s Answer to My Speech, and Hear My 
Other Arguments on the Issues of the Campaign” on be* 
half of each party. This was the early forerunner of the 
later-day radio and TV campaign broadcasting* 

One of the first actresses to transcribe her words for 
posterity was Mme. Ellen Terry, who was so old at the 
time she couldn’t stand for long and had to be propped up 
an a chair. v • : • 

John McCori. rack’s early recordings made history, not 
on)v- by vocal standards but because he was the only singer 
who had such tin even tone that he didn’t have to be 
moved back and. forth before the recording horn to keep 
his peak notes from shattering the recording system. 

When the famous husky-lunged Wagnerian singer Jo- 
hanna Gadski first recorded, the engineers had to put their 
fingers on the recording needle to keep it from vibrating 
so it wouldn’t ruin the wax impression. 

Arturo Toscanini issued an ultimatum in 1931 that he 
wouldn’t conduct his orchestra any more for the sole 
purpose of making records because stopping every four 
and one-half minutes in a symphony destroyed his mood. 
Necessity being the mother of invention, RCA Victor en- 
gineers then proceeded to perfect a method of recording 
directly from a concert hall during a performance. 

When Caraio recorded the famous “Quartette” -from 
Rigole'fe with Galll-Curci, Perm! and Debtrcca, h * s voice 
boomed out ever all the rest. Finally an even balance 
was obtained for the recording horn by backing Caruso 
against the far wall of the studio, some five or six yards 
away from the horn and far behind the other principals. 

I Birds Give It to Victor I 

t *• l 

* , 

Two of the most temperamental artists ever to record 
were a pair of canary birds hired to provide an obligato 
for a “Blue Danube Waltz” recording. The birds refused 
to perform until the studio lights were dimmed, the micro- 
phone draped and their cage three-quarters screened. 

Pianist Vladimir de Pachmann couldn’t record without 
an audience, so when he made his first disks at Victor’s 
Camden studio, office boys, secretaries and 'Other help not 
busy in the studio at the time were rounded up to provide 
the proper atmosphere. 

Emma Calve, apparently expecting to see plenty of 
gold and glitter when she arrived at her first session, was 
frightened by the utilitarian aspect of the studio. Swear- 
ing that shJ? was afraid to enter for fear of being robbed, 
she wouldn’t set foot in the studio until the treasurer 
arrived with a certified check, and she was paid in ad- 
vance. 

Humorist Cal Stewart (“Uncle Josh”) once fainted dur- 
ing a recording session. When he came to, he asked what 
time it was. When told “one o’clock” he exclaimed, 
“That’s the first time in my life I failed to wind my watch 
at 12 o’clock.” 

When Chauncey Olcott, one of the most popular singers 
of his time and composer of “My Wild Irish Rose,” came 
to record he was so nervous he broke down and couldn’t 
sing. Taking his hat and coat, he walked out and never 
returned. 

Probably the best known anecdote about the old re- 
cording days is the story about the time Caruso and Ger- 
aldine Farrar waxed the love duet from “Madame But- 
terfly.” The day was hot and humid, and Caruso, took 
time ou <- between “takes” for a “quick one.” When he 
returner! and sang the introductory bars, Farrar is sup- 
posed to have thrilled, in perfect accord with the music, 
“Oh, you’ve had a highball!” Caruso, still singing also 
in perfect time, replied, “I’ve had two highballs:” Au- 
thorities are still in dispute over whether the record was 
ever released commercially. 


When Marconi Became 
A Columbia ‘Expert’ 

In the early years of this century the world was agog 
at the news that a young Italian, Guglielmo Marconi, had 
invented the “wireless telegraph.” It occurred to Colum- 
bia that engaging Marconi to work with staff engineers 
in ^perfecting the phonograph and record would be a 
10-stnke. So, in the summer of 1906, with much fanfare, 
Marconi became associated with Columbia. 

Tho news inspired some unidentified scribbler, who 
didn't care for the phonograph music of nearly half a 
century since, to write the following: 

' u Say, MtrMurcmci, "get '’vusy^rpteuse -; — - 

Give us a tip — set our minds at ease. 

They say you've hitched up with the Colurhbia staff, 

And soon we’ll hear your improved phonograph. 

Will it be noiseless , and screechless, and scratchless? 

Raspless, and gaspless, and hornless and brassless? 

TJ so, G. Marconi, to thee be the praise 

From morning till night, till the end of our days . 

You've done some great stunts, flashing news *cross 
the sea, 

But say, hully gee! that ain’t one, two., three 

To what you’ll be, ivhen you perfect your idee 

And land in every home, 

Your Noiseless, 

Screechless, 

Scratchless, 

Raspless, 

Gaspless, 

Hornless, 

Brassless 

GRAPH-O-PBONEr 

Marconi didn’t stay long with Columbia. There is no 
evidence of his contributing anything worthwhile to the 
company’s research, but a new type of record, not de- 
signed by him, was called the Marconi in L his honor. 
Jt was a single-sided, semi-flexible platter, unbreakable 
but which had to be played with a special gold-pointed 
needle. When Marconi quit, Columbia abandoned hi* 
namesake record, which most people tried to spin with 
ai steel needle lo its . utter ruin. 



Wednesday, October 1, 1952 




IMBCOllBS 


31 


The Expanding Repertoire 

RCA Victor Artists"^ Repertoire Chief’s 
Hep Appraisal of Creative Values 

By GEORGE R. MAREK 

( Director of Artists & Repertoire ) 

The Independence Celebration Committee of the City 
of Boston managed to raise a round $100,000 as Johann 
Strauss’ fee. The sum was. his for coming to conduct 
several “Monster Concerts” and for playing his “Blue 

Danube Waltz” next to the Charles 
River. The “Monster Concerts” were 
an enormous success, and the Boston 
ladies demanded snips from Johann 
Strauss’ black locks as souvenirs. 
Strauss’ valet did a thriving business 
selling such locks. Unfortunately, it 
became known that this gentleman’s 
gentleman clipped the curls from his 
master's Newfoundland dog. 

Johann Strauss’ visit occurred in 
the year in which Edison announced 
the invention of a machine which was 
“an attempt to record automatically 
the speech of a very rapid speaker.” 
It turned out that what Edison thought it would be was 
the one thing it isn’t: the use of the phonograph for the 
spoken word is extremely limited. Very few spoken rec- 
ords have been successful. But to the “Blue Danube” — 
which became over the course of years probably the best- 
selling single record — Edison’s invention has done fan- 
tastic justice. “Blue Danube” recordings have been heard 
by many more people than could be squeezed ’into the 
biggest “Monster Concert.” 

What is good repertoire? What makes for a successful 
record? Our present catalog lists as its first listing “A 
Granada.” sung by Caruso, and comes to an end with 
“Zonky,” played by McKinney’s Cotton Pickers. Within 
that “A” and “Z” there is to be found the most diverse 
music. The records have only one characteristic in com- 
mon. Any one of them is capable of being played a 
number of times. Whenever we discuss whether an idea 
is suitable for recording I ask myself: “How will it sound 
the sixth time?” Records still represent a substantial sum 
of money to most people. Records differ from a tele- 
vision program or a film. Record buyers want something 
they can enjoy more than once. This is obviously true of 
classical music; it is also true of a transitory pop song. 

The new speeds (which offer more music for less money) 
and tape-recording (which facilitates thg making of a 
record) have helped to make the classical repertoire grow 
like a forest fire. Actually, the recorded Tepertoire today 
is bigger than the “live” concert repertoire, an astonish- 
ing phenomenon! An artist hesitates to play in a concert 
some of the music he is asked to commit to tape. You 
do not very often hear the Bartok Violin Sonatas in Car- 
negie Hall, nor Poulenc’s Mass in G, nor Nielsen’s Sym- 
phony No. 4. But these examples of modern music are all 
available on records. 

' The same would be true of old music. It is a rare con- 
cert which includes any music by Palestrina, Cesti, Vivaldi, 
Frescobaldi or Gabrieli. Yet these great early Italian 
composers now find their voice on a disk which Stokowski 
has just recorded. Compare the available records of 
operas with available stage productions. Few managers 
can stray off the beaten path in stage productions of 
operas, since operatic production requires costly scenic 
investiture and costly rehearsals. I have never seen a 
performance of Mozart’s “Idomeneo” in America, nor one 
of Purcell’s “Dido and Aeneas.” But I can listen to them 
and a dozen other “unusual” operas on records. 


Longhair Hit Parade . 

This is not to say that the “Blue Danube Waltz” and 
the old favorites have lost ground. “Blue Danube” is still 
a best seller, and so is Beethoven’s Fifth and “Clair de 
Lime” and “Liebestraum” and “Ah. Sweet Mystery o£- 
Life.” So are the Polonaise in A Flat and Schubert’s 
“Ave Maria” and the “Nutcracker Suite” and* the “Moon- 
light Sonata.” “Traviata,” “La Boheme,” “Aida,” “Car- 
men” — any one of the “boxoffice” operas — will outsell 
“Dido and Aeneas” 40-1. Fortunately, there are always 
new music lovers who wish to hear this appealing music. 

A market is a parade. New people are always joining 
and others departing. What we snobbishly call the war- 
horses will keep on riding accoutered in glory and popu- 
lar lame. Isn’t this as it should be? Isn’t — by and large 
— the most popular music the greatest music? There is 
always a good reason for endurance and an excellent rea- 
son for immortality. 

I believe that the first duty of a record company is to 
bring to the public this popular repertoire in recordings 
of ever-increasing excellence. There is no such thing as 
“u Hi. O.i ate.” .recording, ,1 ... believe that..,. the ..repertoire 
must be expanded vertically — in new recordings of the" 
masterpieces, the beloved melodies, the charming oper- 
ettas — as well as horizontally. 

To be honest, I don’t believe that all of the little-known 
operas and tone poems that are being hurriedly brought to 
tape now are worth recording, or that the public’s interest 
is best served by such plethora. Still, poking in the 
musical attic is always diverting. Widening the reper- 
toire is always a fascinating challenge. Here is where 
you get some pleasant surprises — and some disappoint- 
ments, We have never been able to sell in any great 
quantities recordings of Schubert Songs in their original 
versions. We have had little luck with tlie popularization 
m quartet music. On the other hand, there is “La Mer,” 
Debussy’s glittering tribute to the sea which, beautiful as 

is. is certainly not easy music. Last December we re- 
leased a recording by Toscanini ol which in six mpnths 
we have sold some 22,000 albums. It is a case of “La Mer” 
the merrier. 

: The Artistes Impart 

Just as the recorded repertoire no longer follows the 
Jive repertoire entirely, so is it no longer true that an 
ai tist’s record sales' are dependent on his personal ap- 
pea ranees. That used to be an axiom of the business, and 
11 ls undoubtedly a fact that record sales are helped by 
voncertizing. Yet within the last two years we have 
nought forth recordings of the past and, in addition to 
He perenially popular Caruso, the recording by Rachman- 
no, ‘» John McCormack, Rosa Ponselle and Chaliapin have 



G. R. Marek 



By P. A. BARKMEIER 
e (V. P., RCA Victor Record Dept.) 

More than $200,000,000 worth of records of all sizes, 
speeds, and classifications wn* sold by the nation’s record 
dealers during 1951. 

During that single year, the public purchased more 

records than were bought during the 
eight-year period that preceded World 
War II. In the past three years, deal- 
ers have sold more phonograph rec- 
ords than were sold during the last 
13 years before the war. 

This tremendous record-market ex- 
pansipn and the tremendous merchan- 
dising opportunities it offers dealers 
are direct results of the development 
of the present new-speed market and 
more progressive merchandising tech-' 
niques. Throughout the history of the 
Paul a. Barkmeier record business, technical advances 

have been folowed by market expan- 
sion. 

Eldridge R. Johnson's establishment of the first mass 
market for records at the turn of the century was made 
possible by this national response to technical improve- 
ment. Johnson’s skill as a designer and a machinist quick- 
ly resulted in a much improved product. His invention of 
the phonograph’s first constant speed motor was excellent 
to satisfactory music reproduction. By merchandising the 
technical improvements to the public he converted a toy- 
like device into something the public wanted. For the 
first time, the American householder saw the phonograph 
as a serious musical instrument for home entertainment, 
and a new industry was launched. 

Today, the situation is somewhat similar. The coming 
of 45 rpm and 33 ^ rpm records has given dealers that 
“something better” which is attractive to customers. 

Since the potential record market is keyed to the num- 
ber of phonographs in use, the magnitude ,of today’s rec- 
ord market is indicated by the tremendous increase in 
new-speed playing facilities. 

Salient Statistics [ 

On Jan. 1, 1950, according to published statistics, there 
were in use approximately 800,000 instruments, capable of 
playing 45 rpm and 1,500,000 instruments capable of 
playing 33^ rpm disks. By Jan. 1 of the following year, 
the in-use figures had jumped to more than 5,000,000 for 
45 rpm and more than 4,000,000 for 33V& rpm. By Jan. 1, 
1952, there were in use more than 8,000,000 turntables 
capable of playing 45 rpm and nearly 7,000,000 capable of 
playing 33V6 rpm disks. These figures include the three- 
speed home phonograph machine now in use. 

In the three years that the new-speed instruments have 
been on the market, dealers have sold as many of these 
types as there were phonographs in use in 1946. 

The outlook for the future is equally promising. Today, 
the record dealer has more sales opportunities than at any 
time in the history of the industry. He has: 

1. A new high level of turntable distribution — approx- 
imately 22,000,000 record-playing instruments of all types 
currently in use. 

2. The new-speed records, which represent significant 
technical advances, offering the record-buyer unprece- 
dented listening, operating, and handling advantages. 

3: More value for the record purchasers dollar — a 
superior record technically and artistically, at lower prices 
than the conventional shellac disk. 

4. National promotion of musical selections, artists, and 
orchestras by radio, television, and the movies. 

5. Powerful merchandising aids to help him capitalize 
on the first three factors. 

Given this mass distribution of turntables, modern and 
highly salable merchandise, and the merchandising sup- 
port of radio, television, and the movies, the record in- 
dustry is today more firmly intrenched in the American 
home than it was during those years when it stood alone 
in the field of home entertainment. 



Edison Finally Makes a Record; 
Inventor’s Fan Mail 

By G. FENN GRACE 

While Thomas A. Edison’s recitation of “Mary Had a 
Little Lamb” was the first words ever spoken into a 
phonograph, for many years the inventor wouldn’t make a 
record for public sale, although the public clamored 
for one. 

The National Phonograph Co M which marketed Edison 
cylinder records and machines, for years published a 
small fan mag. The Phonogram. Letters were constantly 
published from devout admirers of the man who made 
recorded music possible, asking that he make a “roller” 
on some subject such as “How I Invented the Phono- 
graph.” Edison always refused. Meanwhile, some patrons 
consoled themselves with belief that he did the spoken 
announcements at the beginning of the records. < He 
didn’t. They were by one of Edison’s staff artists, 
comedian Ed Meeker.) 

But 5 finally, shortly after the first World War ended, 
Mr. Edison did consent to become an Edison recording 
artist. He spoke a brief address, “Let Us Not Forget — 
a Message to' the American People,” which was a plea 
for continued cooperation and harmony among the Allied 
nations, and it sold well on both Diamond Disks and 
Blue Amberol cylinders. 

Much of Edison’s fan mail was reprinted in Phonogram 
and at this date makes hilarious reading. Beyond doubt 
the miracle of sound reproduction inspired some of the 
world’s worst “poetry.” Consider “The Edison Phono- 
graph,” in the Phonogram for September, 1904: 

“As I walked through the town on a fine summer eve, 

I heard such sweet music, you could hardly "believe. 

It was playing ‘ Sweet Home’ and ‘A Home Ove f There / 
And ’The Last Rose of Summer ’ on the cool evening air. 
“Yes, I stopped and listened, and would you believe 
1 My Old Kentucky Home’ floated out on the breeze. 
Then the chime bells they echoed this beautiful song, 

‘ The Old Lights of London ’ so powerful and strong . . . 

“I inquired of the passers-by , ‘What instrument is this?’ 
They said, ‘ It’s the Edison, and one of the best.’ 

It played ‘Rock of Ages’ so solemn and sweet, 

And the song called ‘ Old Hundred’ as the pastor he 
preached . . . 

Then I listened again, when a dialog came, 

‘Won’t you let me. in, Hannah, from out of the rain?’ 
Then the old-fashioned farmer, from Squashiown, 
you know, 

He set us all laughing till we lost off two toes! 

‘My Old New Hampshire Home ’ then entirely got 
loose, 

And the tears from my eyelids dropped into my boots. 
When I thought of the days of my childhood once 
more, 

Before the Edison phonograph entered my door.” 

J Plaudits 

On the other hand, sometimes a reasonably literate 
tribute of appreciation came in. A young woman, Ellie 
Wemyss, from far-off Australia, was so happy when she 
received a home recording which her brother in Chicago 
had made on an Edison cylinder machine that she sent 
the inventor a long poem, of which the first and last 
stanzas are typical: 

A voice from far across the sea! 

We hear each word and tone! 

* Tis not a mere machine — 'tis he!' 

Himself! .His voice — his own! . . . 

God cherish that great life of thine! 

God guard and bless it still, 

That you may give more gifts divine, 

And all His work fulfill! 



again become important repertoire. So have Glenn Miller, 
Fats Waller and Russ Columbo. In Pop Music today we 
have artists who achieve enormous initial success on re- 
cordings and only after they are a success by ear alone 
does the public want to see and hear them in person. 
There are even certain artists who are big record sellers 
hut do not draw in personal appearances. Recently the 
producer of “Wish You Were Here” attributed some of 
..ihe. .success., of the.„shQw . (affect .sha&y .^tart,). t.o .the, popu- 
larity of Eddie Fisher’s recording of the title song. Peo- 
ple hear this record — and some of them then go to the 
boxoffice. 

How about the future? Surely the repertoire will con- 
tinue to widen. Surely reproduced music will continue 
to be improved in sound. New packages and products 
will be developed in the next 75 years to give new im- 
petus and excitement to the business, and these, I believe, 
will attempt to give the consumer still more music for 
less money. (Our* latest record, the 45 EP, offers the 
public 16 minutes of recorded music for $1.50 on Red 
Seal and $1.40 on Pop. This is quite a reduction from 
the Quartet from “Rigoletto” (5 minutes) which we sold 
as a one-sided record for $3.50 in 1917!) 

Eventually it may be possible to produce records cheap- 
ly enough so that people could buy them as casually as 
they pick up a magazine. Then you might buy a record- 
ing of some timely gags by whoever will be the Bob Hope 
of 1975 (probably Bob. Hope), play it once, and discard 
it. Or you might get a recording of the speech of the 
Presidential candidate, just to hear again what promises 
he made the day before. The use of records for home 
instruction may increase: cooking instructions, diet hints, 
home exercises, courses in spoken salesmanship, parlor 
games, dancing lessons, language lessons, etc. And you 
might be able to get a recording oi the uncut “Hamlet,” 
hook it up to your film projector and see and hear Shakes- 
peare at your leisure and as often as you want. 

If that happens, Edison’s original plan will have been 
fulfilled. 


And the following, in December, 1905, from a Michigan 
farmer, who had written in September, wasn’t bad: 

“We have a Home phonograph and we may, in view of 
the following, be excused for this one luxury. I am today 
out in the cornfield, cutting corn. The sun kisses the gray 
corn tassels and the ears tickle my ribs as I work. In an 
end shock I stick a long stalk in the top as a mark to show 
me the shock.. In the shade a good cold grainy water- 
melon reposes. Across the lane my boy follows a wheat 
drill over the soft earth in his bare feet. The crows are 
-..flying. .taward the. wood .Add .the, .robins, are 
gathering for their journey south. The air is still and 
it makes a fellow sweat. But I know when the yellow 
corn is cribbed, and the storm is howling, and the great 
white billows lay along our roads and fences, while a 
big mound buries our mail box at the front gate, and we 
can’t get to town (we are a family of 11; eight children, 
youngest’ two; grandpa. 90), and when the windows are 
covered with thick frost we will listen to ‘Blue Danube’ 
and thank Edison for his phonograph.” 


TV Helps, Not Hinders Disk Biz 

Television has been a boon instead of a bane to the 
■phonograph record business, according to L. W. Ka- 
naga, RCA Victor record sales and merchandise man- 
ager. He cites four points to show that television 
benefits the record business: 

1. Record sales in the older, more saturated tele- 
vision areas have outstripped non-TV areas by a wide 
margin. 

2. The medium of television makes music and re- 
cording artists better known and, therefore, stimu- 
lates interest in them. 

3. Television keeps people at home and thus affords 
a greater opportunity for playing records. 

4. Many homes formerly without record players 
have acquired tliem in combination with television 
sets. 


RECORDS 


Only Records Afford That 
Unique Interpretation 

By DAVE KAEP 

(Manager Popular Artists & Repertoire) 


PfiRIETT 

RCA Victor’s All-lime Best Sellers 

CLASSICAL SINGLES 

Marian Anderson Ave Maria (Schubert) 

Boston Pops Jalousie (Gade) 

Boston Symphony Toy Symphony (Haydn) 

Enrico Caruso Vesti la giubba from “Pagliacci” 

(Leoncavallo) 


Wednesday, October 1, 1952 


Artists Take Their Recordini 
Very Seriously Nowadays 

By MANIE SACKS 

(Talent Coordinator, RCA-NBC) 


When radio began its temporary replacement., of the 
parlor phonograph as a feature of the American home 
some years ago, few prophets had the vision to foresee 
that the record players would return to the scene, stronger 

than ever, and join radio in a flour- 
ishing partnership. 

In their first flush or excitement, 
radio fans prematurely relegated rec- 
ords to the heap, but in the long run 
radio proved to be a potent hypo for 
the recording industry. 

With this plus the aid of major 
technical improvements, recording 
and record manufacturing have sky- 
rocketed into a major industry which, 
during 1951 for example, sold more 
than $200,000,000 worth of platters 
over retail counters and into the coin 
machines. 

Without the competition of radio, records might have 
continued to provide merely faithful transcriptions of es- 
tablished hit songs, sung exactly as introduced by ^ top 
vaudeville, night club, and musical comedy personalities. 
When radio began to bring these same performances into 
homes at no cost, records had to sing a different tune to 

attract, a paying public. . 

How the record Industry rose to this challenge is one 
of the entertainment world’s most inspiring sagas. It 
soon was found that with all its exciting advantages, 
radio was limited by programming requirements which 
still left room for the wax medium. Every week, on radio, 
the songs had to be arranged to suit the same orches- 
tras, and they had to be proven hits to be programmed. 
The record industry discovered that its relative flexibiity 
and opportunity for experimentation opened an avenue 
for survival — -and even for growth. . With radio concen- 
trating on proven product, the record men could try out 

new talent and fresh material. . . , OA 

Basing its fight for existence in the middle 30s on 
the “replayability” of records, as opposed to radio s one- 
shot” offerings, the record industry developed an en- 
tirely -new philosophy, stressing its unlimited opportunity 
to “create” and to provide “continuous performance . in 
the home. The record men then branched out as creative 
composers and arrangers as well as talent scouts. The 
challenge to mold something that the public would pay for 
in competition with something it could get free, offered 
an exciting incentive. . ,♦ 

1 Real Starmakers 



In rising to the challenge, records also made a strong 
contribution to radio, because many of the artists who 
became established favorites on the phonographs went on 
to further their careers on the airwaves. In the past 20 
years, no other medium has come anywhere near the 
phonograph record as a starmaker. . 

Perry Como's “Till the End of Time” led to “Prisoner 
of Love” and the long string of recorded favorites that 
have made him the big name that he is in music today. 

It was the record of “There I’ve Said It Again that 
started Vaughn Monroe on his successful career. Dinah 
Shore skyrocketed with “Yes, My Darling Daughter, 
Tommy Dorsey with “Marie,” Artie Shaw with “Begin the 
Beguine,” and Glenn Miller with “In the Mood” and 

many others. . . . , tt* 

The rise of Eddie Fisher Js another case in point. His 
early record hits first brought him national fame and he 
has followed them with an exceptional succession of 
smash waxings. Although^ony Martin has a tremendous 
nightclub and theatre following, it took his “There s No 
Tomorrow” to propel him to an all-time high. 

And the parade of new record personalities continues. 
The teen-age Bell Sisters have become the biggest new 
sister act in show biz solely on the basis fif their record- 
ings. June Valli’jf recent “Strange Sensation” was a 
prime factor in her being signed for the new Hit Parade 
television show. Sunny Gale, the “‘Wheel of Fortune’ 
Girl,” is continuing her rapid rise on disks. Then there 
are the successes of the Ralph Flanagan, Buddy Morrow, 
and Sauter-Finegan orchestras, none of which would 
have been possible without their first recordings. 

The recording industry now ranks Second to none in 
the creation of new music personalities for the same 
market. With an improved product and a tremendous 
market of more than 20,000,000 turntables in use, the 
phonograph record industry looks forward to an even 
greater future as a maker of hits and a builder of stars. 


Net Disk Sales F©r 



(Sales for 1952 Estimated at Same Level*) 
Totals 

$100,000,000 estimated dollar volume at manufactur- 
ers’ levels. 


200,000,000 estimated units sold. 
Speeds 

78 r.p.m. — 106,000,000 units. 

$47,300,000 dollar volume. 
45 r.p.m. — 60,200,000 units, 

$26,50G,000 dollar volume. 
33 r.p.m, — 33,400,000 units. 

$26,200,000 dollar volume. 


Types 

Popular 

Classical S. 

Country & Western . . . 

Children’s 

Rhythm & Blues 

International * . . . 

Latin-American 

Hot Jazz . . . • 


Units 

98.200.000 

37.800.000 

26.400.000 

20.400.000 

11.400.000 
2,200,000 
2,000,000 
1,600,000 


4> 


Dollar Volume 
$49,100,000 

18.900.000 

13.200.000 . 

10 . 200.000 

5.700.000 

1.100.000 
1,000,000 

800,000 


200,000,000 $100,000,000 


Gross retail dollar volume is estimated at twice the 
manufacturers ' level or $200,000,000 for 1951 and 
1952. 

* Sales for 1950 were approximately 15% below the 
1951 figures. 


Jascha Heifetz Hora Staccato (Dinicu-Heifetz) 

Vladimir Horowitz. .. .Waltz in C sharp minor (Chopin) 

Jose Iturbi Polonaise No. 6, in A-flat (Chopin) 

Ignace Paderewski .... Minuet in G, Op. 14 (Paderewski) 

Artur Rubinstein Ritual Fire Dance (De Falla) 

Robert Shaw Bells Of St. Mary’s (Furber- Adams) 

Leopold Stokowski. . . .Hungarian Rhapsody No. 2 (Liszt) 
Arturo Toscanini Skater’s Waltz (Waldteufel) 

ALL-TIME RCA BEST-SELLERS (POPS) 

(Listed Alphabetically) 

Perry Como * .Prisoner Of Love 

Perry Como Till The End Of Time 

Tommy Dorsey Boogie Woogie 

Tommy Dorsey Marie 

Eddie Fisher Any Time 

Glahe Musette Beer Barrel Polka 

Spike Jones My Two Front Teeth 

Freddy Martin Tchaikovsky Piano Concerto No. 1 

Tony Martin There’s No Tomorrow 

Glenn Miller In The Mood 

Glenn Miller Sunrise Serenade 

Vaughn Monroe Ballerina 

Vaughn Monroe Riders In The Sky 

Three Suns Peg O’ My Heart 

Artie Shaw Begin The Beguine 

Artie Shaw : Star Dust 

Dinah Shore Sweet Violets 

Paul Whiteman Whispering 


COUNTRY-WESTERN 


Eddy Arnold Bouquet of Roses 

Elton Britt There’s A Star-Spangled Banner 

Johnnie & Jack Poison Love 

Peewee King Slowpoke 

Jimmie Rodgers. Blue Yodel 

Sons of the Pioneers Cool Water 

Hank Snow I’m Movin’ On 


New Record Business Geared To 
Lowprice High Quality Product 

By LARRY KANAGA 

(RCA Victor Records Sales Manager) 

The wise shopper who patronizes the thrift marts and 
bargain basements to get the most for his money in this 
era of spiraling costs and prices can find one of the 
best buys on the market today in his nearest record store. 

It is a proven fact that the record industry is one of the 
few businesses honestly able to say that it is giving the 
customer a better value today than it did four or even 40 
years ago. 

If the purchasing power of the record buyer’s dollar 
were to be measured by the pound alone, yesterday’s opera 
fan staggering home with 14 shellac discs of a complete 
78 rpm “II Travatore” would be the winner. But now your 
opera fan gets all of the Verdi masterpiece on two vinylite 
LP disks or nine featherweight, 7-inch 45 rpm records in 
high fidelity. “New Orthophonic” sound at approximately 
half the 1939 price of the old opera. The customer of 1912 
also thought he had a bargain with a single-faced record 
of such top opera stars as Caruso singing the Sextette from 
“Lucia” for $7. Now he not only can get the Sextette but . 
nine other arias from the same opera on LP or 45 for even 
less than his pre-World I predecessor paid for the Sex- 
tette alone. 

This new bargain value in recorded music is the prin- 
cipal reason why more disks have been sold in the past 
three years than in the whole 13 year span before the 
war. Today more money is spent in the U. S. on records 
alone pfer year than for all of the airline tickets pur- 
chased annually; more than for all of the boxoffice 
receipts of the legitimate theatres, operas and concerts. 
There also is more spent for the vinylite platters in 12 
months than for all the yearly take of the professional 
football, baseball, hockey and racetrack receipts com- 
bined. 

The record industry once was a comparatively simple 
operation. In 1951, however, it reached a $200,000,000 an- 
nual gross. This business volume combined with the tre- 
mendous* increase*- in- repertoire- and new improvement- of 
product has made it necessary to revise and streamline 
the basic sales and merchandise structure to keep pace 
with opportunity. 

At RCA Victor we have done this by means of a greatly 
intensified field sales program designed to more thor- 
oughly exploit the new markets opened up by the in- 
troduction of the . new speeds. This includes frequent 
and more intensive contact with the markets through dis- 
tributor-dealer meetings in all territories, a greatly aug- 
mented Selection of merchandise and promotion aids, and 
even a basic training program for record store personnel 
which, more than ever before, accents the importance of 
the familiar sales slogan, “Know Your Product.” 

This new field program is also geared to the fact that 
the record dealer today doesn’t run one business — he runs 
six! Each of the popular, ’ classical, kiddies,’ country & 
western, rhythm & blues, and international classifications 
demand individualized attention and, with the new speed 
sales techniques and merchandising aids devised for each, 
a thorough knowledge of the product is more important 
than ever. The record counterman who does not know his 
product today is not only out of step with the forward 
march of the industry, but he is actually bottlenecking 
the new areas of potential profit represented by the 
22,000,000,000 record playing instruments of all types in 
use today. 

One of the biggest sales opportunities now open to the 
alert record dealer is the standard 78 rpm customer. Al- 
though millions of new-speed phonographs have been sold 


The current universal show business recognition of the 
disk as a key’ factor in the ^tar-making and star-main tain* 
ing process has had its inevitable impact on the develop- 
ment of healthy talent relations in the record industry. 
That impact includes some negative aspects, such as the 
complaints from the vocalist who has failed to -come up 
with a hit side over a period of months}* but, on the 
whole, there’s been a steady improvement in the rela- 
tions of the artist to his label. 

The record company, of course, has always been inter- 
ested in making the hit sides. That’s their business, 
their bread and butter. The same attitude, however, did 
not always exist on the part of some name artists who 
once tended to neglect their disk assignments, for other 
entertainment media, such as films and radio. That 
sluffoff approach has long gone by the boards since the 
boxoffice power of disks has been demonstrated so clearly 
and repeatedly. 

Nowadays, top artists pitch, side-by-side with the com- 
panies, to find and make that all-important hit side. 
No longer do artists walk into the studio a couple of 
minutes before cutting time to glance over their assigned 
tunes.- Good records can’t be produced that way anymore 
and when they are, it’s accidental. 

Today, hijes are generated by careful preparation, plan- 
ning and production detail. It’s like a Broadway legitimate 
show that's going on the boards. Every phase of the show’s 
personnel, from producer and director through the cast 
to the backstage grip, has to map out his function as the 
show takes shape. The same goes for the disk-making 
process and you don’t have to draw any pictures for the 
vocalist today to make him understand the necessity of 
collaborating in every detail with the artist fc repertoire 
chief, the musical director and the arranger. On the con- 
trary, the disk artist is right on the ball these days only 
because records are so essential to his marquee status. 

Show Biz Phenomenon 

The power .of disks is a show business phenomenon. 
No other entertainment medium has equalled the capacity 
of records to create stars out of unknowns so quickly or lo 
maintain and entrench the position of established stars so 
solidly. Even video, for all its spectacular growth and influ- 
ence, has as yet failed to produce anywhere near as many 
new stars as have disks over the past few years. Martin & 
Lewis can be credited as video products, and that’s about 
all, while the disk has created such names as Eddie 
Fisher, Johnnie Ray, Les Paul & Mary Ford, Ralph 
Flanagan, among the new bandleaders, and a flock of 
others. 

The source of the disk’s power to create or maintain 
or enhance star values can probably be found in its re- 
petitive use. An outstanding song interpretation on 
records initially gets a tremendous audience through the 
disk jockey. That audience runs into the millions and it 
is exposed to the same song and the same artist many 
times a day until it sinks deeply into the public con- 
sciousness. 

Even more importantly, the disk is played on the home 
phonograph for the family and friends. A • record that 
sells 1,000,000 copies can safely be estimated to reach 
10 or 12 times that number of persons in the course of 
its being played over the home machine. That imprint 
for the artist is direct, intimate and immediate and no 
other medium can duplicate the power of disks in this 
respect. 

There’s $ie case of Eddie Fisher, for example. Although 
he’s been serving in the U. S. Army for the past year, 
he still ranks as one of the most popular male singers 
exclusivelV through the series of hit sides he’s made for 
RCA Victor. The Fisher saga is a remarkable, yet 
typical, example of what the record industry has ac- 
complished in the past few years in the way of bringing 
new faces to the old business of disking.- 


at a very low cost, many 78 rpm purchasers still do 
not know all their merits. If’the sales person thoroughly 
knows his new product and also knows the likes and dis- 
likes of his customer, every 78 rpm purchase presents a 
challenge for him to acquaint the customer with the new 
speeds. 

The new RCA Victor Bluebird line of classics is an- 
other example of a product whose advantages only can be 
•exploited if a saks-person-kciows* what be is talking ahauU 
The sales person also must know how much the customer 
saves and be able to demonstrate the desirable features of 
the new Extended Play 45’s. 

In the operatic field every dealer realizes that being 
able to spot and play a well-known selection from an opera 
album can materially increase sales of that opera. Today 
the record store personnel must be familiar with an in- 
finitely larger selection of operas than ever before to 
successfully promote this type of repertoire. In the chil- 
dren’s record field as well, store personnel must know 
all the advantages of the dollar children’s record over the 
low-price kiddies’ repertoire. He must also familiarize him- 
self with all the innovations of such a new development 
as our Kiddies’ “six-in-one” line which has six distinctly 
different saleable features. 

It is also not enough now for the salesman just to 
know his product. He must listen to his customer sc 
that he can get to know his preferences and then suc- 
cessfully introduce him to the type of new product best 
suited to his taste. This means that there is a greater 
difference now than ever before between an order-taker 
and a salesman. The salesman who knows his product 
and who knows his customer, is the salesman who will 
bring alive the slogan “more music for less money,” and 
spell it out where it counts — on the cash register. Such 
selling also creates the satisfied customer who will buy 
more high quality product, more often, to make the forth- 
coming seasons the biggest in the 75-year history of 
the phonograph industry. 


Wednesday, October 1, 1952 


PS&IETY 


RECORDS 


33 


ASCAP and 

And Its 


BMI Proxies’ Views on Music 

\ , 

Recorded Manifestations 


By OTTO A. HARBACH 

( President , ASCAP) 


Before I discuss what the advent of the phonograph 
record and talking machine has metfnt to the publisher 
and writer of songs, I want to tell you about a trip I 
mice took in a small motor boat through Hell’s Gate. 

Hell’s Gate is that spot in the East 
River where the tides of Long Island 
Sound get mixed up with the currents 
of the river as they 'meet head on the 
tide coming up or returning to New 
York Bay. It was then I found out 
why this is called Hell’s Gate. My 
steering apparatus seemed to have 
fallen apart. I steered south and 
found myself going west and vice 
versa. Sometimes as though in a 
paroxysm of frustration I found lpy 
boat standing in one spot, not still, but 
seemingly possessed of a mad desire to 
waltz. Needless to say, by a system of 
eventually got out of the mixed up 



Otto A. Harbach 


trial by error, I 


currents. 

But what has this to do with phonograph records and 
talking machines? 

Today, as president of the American Society of Com- 
posers. Authors and Publishers (ASCAP), 1 am trying to 
help gioe r a boat th rough waters where conflicting tides 
and currents make Hell's Gate seem a dreaming millpond. 
And it’s all because 75 years ago someone invented a 
process whereby the vibrations of sound could be impris- 
oned in wax, later to be released and made audible by 
simply reversing the process. 

At that time it meant nothing to me as I was only four 
years old and my interest in music was confined to my 
mother’s voice. She always sang as she worked. 

But 30 years later I became conscious of phonograph 
records in a definite way. 

My first musical play, “Three Twins,” had been pro- 
duced on Broadway. The day after the opening, at Mrs. 
Dinkelspiel’s boarding house on 56th St., I heard a song 
from the play coming from a tin horn that had emblazoned 
upon it another horn and a little white dog listening to 
“His Master’s Voice.” 

(In passing, I would like to congratulate whoever was 
responsible for that trademark. To me it is one of the 
most eloquent and effective slogans ever invented by the 
advertising fraternity.) 

Little did I think that 45 years later I would be-referring 
to that incident in an article for the voice of the enter- 
tainment industry— V ariety. 

For the sake of brevity, let us leave Mrs. Dinkelspiel 
and shift the scene to a music shop on Broadway near 44th 


street. 

I was standing at the counter, spellbound by a sight 
that has gladdened the heart of every songwriting novice. 
Viz., some copies of a song I had written with Karl Hos- 
chna. By a strange coincidence the song was entitled 
“Every Little Movement.” I say that because I am going 
to discuss a lot of “little movements” that *. have grown 
into tremendous movements’ that have turned the music 
business of America upside down and inside out. 

For the sake of clarity, I will take some liberty in de- 
scribing the scene that took place at the counter. First I 
will enlarge the cast of characters to include beside my- 
self (“the writer”), a piano manufacturer, a music teacher, 
the owner of a vaudeville theatre, a vaudeville singer and 
a music publisher and, what is most important, a customer. 
Let’s listen a moment: 


CUSTOMER: I want to buy a song. 

SALESMAN: Name it. 

CUSTOMER: (Pointing to* “Every Little Movement”.) 
That one. ( The publisher and I exchange a happy 
glance . ) 


SALESMAN: But why do you want that particular song? 

CUSTOMER: I heard Miss Bing sing it last night at Bong’s 
Variety Theatre. ( The singer and the variety manager 
exchange a happy glance.) 

SALESMAN: Do you have a piano at home? 

CUSTOMER: No, but I’m about to buy one. (The piano - 
maker smiles happily.) 

SALESMAN: Can you play the piano? 

CUSTOMER: No, but I’m going to learn. (The music 
teacher is elated.) ^ 

SALESMAN: 1 can save you an awful lot of expense and 
trouble. 

CUSTOMER : How? 

^ ee little machine? 

TOMER: Yes, it’s a talking machine. 

SALESMAN: It will cost you a lot less than a piano. (The 
fnaucr -maker looks worried:)" ‘"And T€V riTCT tell you'huw 
you can save all that trouble of learning to play. (The 
0,1 m usic teacher’s face fades away.) See this 


tU’SlOMER: Yes. 

SALESMAN: All you have to do is to place this disk on 
the machine and out of this horn will come a voice ac- 
companied by not only a piano, but an orchestra, just as 
a U i ua » ( * it last night at the Bong’s Variety Theatre. 
Anu another thing, after this, whenever you want to 
jearn whether or not you like a song, come in here and 
wui play it for you. You can save the expense of going 
• i do vi lie, (At this point the manager and the vaude - 
rr^vViiTt }'f'J lan 9 e a glance of consternation.) 
ivn .i ■ <J * think I will take your advice. I’ll buy the 

11 T i r and 1 may as well listen to some other songs 
while i m here. 

^ ano maker, the music teacher, the vaudeville 
lager and his performer leave the shop all worried, 
a coming catastrophe. The publisher goes 
u ' ritcr * They also look worried.) 

JTm k : What ’ s eating, you two? 

S\i 1 J ust lost the sale of a song. 

‘ ®ut you’ll get something out of the record 

pc i ^ ^ y° u ? ® 

Sure * lc - The profit on my printed copy 

S.U me ant many times that. 

WuriVii. v ^ 11( * you M r * Writer, why are you worried? 

S.AI ks\t\ m 0l l T llave just nicked me for 3c. 

BUSMAN: How come? 


WRITER: If you had sold that song sheet, by agreement 

with my publisher, I would -have received 3c. 

SALESMAN: Don’t you get Something from the sale of 

the record? 

WRITER: Yes, by an act of congress I am not allowed 

more than Yz of one cent. 

SALESMAN: Well what do you know? 

That scene played thousands of times in thousands of 
songshops all over the country was bound to have a tre- 
mendous influence on the musical industry and the en- 
tertainment world. 

To safely sail that stream has required an entirely new 
technique of navigation. It is always so with any new in- 
vention that opens up new avenues of human endeavor. 
It brings catastrophe for some and success and new 
blessings to others, but always the latter seems to 
over balance the former. 

The answer to any problem demanding change is 
always the same. “Will it be the best for the most?” 
* Let’s see what has happened! The development of 
the phonograph record and the orthophonic talking ma- 
chine have led to a series of new industries — some of 
them gigantic. To wit — the jukebox industry, the mov- 
ing picture business, radio and, now, television. 

Yes, the upheaval in the great entertainment world has 
been worthwhile. 

The characters in our little play above have all met 
stormy weather. Some have come through better than 
others. The publisher finds himself in the peculiar 
position of being the guardian of yesterdays’ songs, and 
only occasionally the publisher of something new, some- 
thing whose merits have often been found by someone 
else — usually the maker of the phonograph record that 
looked so like a toy a half century ago. 

The writer has discovered that he must not only 
create, but activate as well. His first contacts today are 
usually with the record maker. 

And now, I must recall another trip I made through 
Hell’s Gate. 

It was not in a small boat of my own, but as a pas- 
senger oh a steamer. To be sure, there was a look of 
worry on the pilot's face until we had reached the quiet 
waters of the Sound, but I was glad that I was not 
trying to buck the currents and the tides alone. 

Some 4,000 writers and publishers feel the same way. 
That's why ASCAP was born. There are many who still 
do not understand what the Society is or how it came 
about. Here’s the answer in a nutshell. 

About the time our Government decreed that no more 
than 2c. royalty could be paid for the recording of a 
song, it — like every civilized government — granted the 
creators of a song an inalienable right to some of the 
profits, accruing from the public performance of that 
song for profit — as in dancehalls, radio and television, 
and other places of public entertainment and someday 
hope from that gigantic business, the jukebox industry. 
To protect that small right, for not only ASCAP mem- 
bers, but for all writers everywhere, ASCAP was formed. 

It has become the clearing house without which the 
stupendous entertainment business, involving the ren- 
dering of music, cannot be carried on. 

When a client signs an agreement with ASCAP, it is 
as though he signed 3,000 or more contracts with each 
of that many publishers and writers who have furnished, 
or' will furnish the songs he wants. 

ASCAP’s Interest 

ASCAP assumes the responsibility bf seeing that fees 
collected are divided among the interested parties, and 
•holds its clients free from all legal complications, re- 
sulting from the exercise of licenses obtained from 
ASCAP. 

The bookkeeping involved in keeping track of millions 
of users of thousands of songs, and allotting credits to 
thousands of writers, composers and publishers is fan- 
tastic. Many problems, relating to this, have been re- 
cently solved, and I foresee a new era of peace and pros- 
perity. 

Upon the fate of ASCAP depends the fate of a large 
proportion of American creators of music. Its interests 
are irrevocably bound up with the phonograph, the talk- 
ing machine and other forms of mechanized rendering 
of music. 

ASCAP is only desirous of finding its just and fair 
position in the musical scheme. Together the industry 
can go on to untold fields of new endeavor. 

To cite just one phase. When I was a youngster, 
'"there were thousands of cuIturaL-dead spots- throughout- 
the nation: remote areas where it was virtually impos- 
sible for anyone to hear good music performed by pro- 
fessional artists. All that has changed in the last 75 years. 

Today there is no area of the entire world which need 
be cut off from the cultural benefits of good music ably 
performed. I think this fact has had a beneficial effect 
. upon the musically creative talent. Writers of music and 
lyrics no longer are* afraid to- attempt mature ideas in their 
works, because they realize that they can have a wider 
acceptance among the general public than was true 
before these methods of communication were established. 

Yes, fantastic changes have taken place in the music 
world in the last 75 years. 

But in all these changes, one element has remained 
intact. At the base of this gigantic pyramid called the 
business of music, is the creator. 

When the^e are no more new songs written, there 
will be no more new songs recorded. A tree whose 
.roots are not continually developing underground, will 
soon find its branches withered and dead. 

Undoubtedly, tomorrow will bring new problems to 
ASCAP in its relationship to the music industry. New 
“gates” in the river will open with new challenges to 
navigational skill. 

With a spirit of fair play on the part of all concerned, 
these gates need not develop into Hell Gates, but only 
turning points that will mean a deeper and broader, and 
a more peaceful river as it approaches the wide sea of 
common interest. 


By CARL IIAVERLIN 

(President, Broadcast Music, Inc.) 

At home not long ago I came upon a slim catalog of 
1916 containing • all the recorded classical music then 
available. My young daughter, a record collector her- 
self, commented on the few recordings then available as 

compared with the enormous wealth 
of recorded music upon which she 
may now spend her allowance and 
such additional sums as her parents 
may give her for the purpose. If I 
remember correctly, I paid as much 
for the Sextet from “Lucia” as she 
recently paid for an entire recorded 
opera. This comparison, perhaps more 
than • any other, symbolizes the tre- 
mendous strides of the phonograph 
record itself. 

The second viewpoint from which I 
regard the recording is that of one 
who has been associated with broad- 
casting-in one capacity or another since 1924.' I well re- 
member that in the '20s there were some broadcasters 
who, for reasons never made plain even to themselves, 
felt it beneath their dignity and the tastes of their audi- 
ences, to broadcast recorded programs. It need not be 
stressed that ^the increasing public appetite for the mu- 

broadcasting almost synonymous. 

The fear expressed in those same years by some record- 
ing companies that the use of their product on the air 
would injure their sales to the public has vanished, with 
the antiquated attitude of some broadcasters toward 
records. 

My third viewpoint is that of one connected with per- 
forming rights and publishing matters. From the .be- 
ginning, BMI recognized the value of recorded music, both 
in its . phonograph record and electrical transcription as- 
pects, as an important element not only in station pro- 
gramming but in the exploitation of music in all of its 
branches. Toward this end we early created the BMI 
Pin-Up Sheet in which we list new recordings of popular 
songs, as a constant reminder to station and agency pro- 
gram builders and artists of what is both current and 
choice. So successful were our first efforts in support 
of popular music, that we later amplified the list to in- 
clude folk tunes, rhythm & blues, and Latin-American 
songs — types of music which did not then enjoy their 
present national popularity. Over a year ago we in- 
augurated the Concert Pin-Up Sheet, devoted wholly to 
the new recordings of both contemporary classical music 
and the standard masterpieces. ’ 

Handling as we do the performing rights of many 
American and foreign publishers, we are aware of their 
struggle for recordings and the reasons for them. It la 
axiomatic that almost without exception, substantial per- 
formances of a composition, both in broadcasting and in 
other fields of entertainment, must be accompanied by 
one or more outstanding records. 

A Gr e at Preserver I 

Until the emergence of the recording as a major mu- 
sical force in recent years, it was the printing of a musi- 
cal work that gave it permanence in this transitory busi- 
ness of ours. Now the phonograph stamper vies with 
the printing press as the great preserver. Indeed there to 
a curious inbalance that we often meet today. Within re- 
cent memory, we and our publishers received requests 
from program people for recorded versions of music 
that had been found good by performers. Now the trend 
seems to be the other way, with requests mounting for 
printed versions of music that has already achieved popu- 
larity in its recorded form. 

Writing of this relationship between the printed and 
rccfvded versions of music, Time Magazine in its issue 
of Sept. 15 notes that “thousands are no longer surprised 
to hear important music on records before it is played in 
public,” and goes on to point out that “today, to the limit 
of his pocketbook, the music lover can buy 128 complete 
recorded operas, from Mozart to Gershwin. (The biggest 
U. S. opera company can mount only about 20 a season). 
He can have song cycles by Mahler, rare tone poems by 
Strauss, tropical novelties by Villa-Lobos, and scores of 
other out-of-the-way pieces, many of them complete 
strangers to the U. S, . . . Music lovers are not the 
only beneficiaries of the (recorded) repertory rush. 
Young composers whose music is often buried in private 
performances by musical aid societies have been coming 
in for their share of benefits too,” 

To the phonograph record and to the outstanding ex- 
ponents of the recorded arts, such as RCA-Victor, the 
world 'of ••music;" the -’listener;- tire'- broadcaster, -the com-' 
poser, the artist, the publisher — all owe an undying debt 
of gratitude. 



Carl Haverlin 


Real Rarity 

Many of the estimated half million collectors in the 
U. S. of old records have set high ambitions for them- 
selves in the way of obtaining rare and almost unat- 
tainable waxings. Perhaps the highest mark of lot 
was chosen by a gent who wrote to Variety’s diskolo- 
gist, Jim Walsh. 

Collector said he had been looking more than 30 
years for “original recording of ‘Mary Had a Little 
Lamb,’ recited by Thomas A. Edison and issued by 
Edison Co.,” and would never rest until he found it. 
Sad word went back that if he doesn’t rest until 
“Mary” turns up he’s going to be a tired boy. As re- 
lated elsewhere, nursery rhyme was the first “piece” 
spoken into the original phono by Edison, but it was 
indented into a soon discarded piece of tinfoil, and 
“record,” of course, was never distributed commer- 
cially. 

Ambitious disk Booners would do better to concen- 
trate on trying to find wax cylinder reputed to have 
been made in 1887 by Jenny Lind. The one and only 
copy of such record is said to be in possession of the 
Royal Family of Denmark. 


I # ffl 1 Iff II f* A « carefully controlled. Steaming hot, 

leclwique of Record Mfg. Has tome a ss 

* • and sheet it onto a* long ‘ conveyor 

I ¥ IIT ff .1 If 9 belt' At the start of this conveyor 

A I AIM? NlVtP£ thil VrPA^htlAV belt, the sheet of compound moves 

*1 LlUHg If <|J ullltlr IIIC LA/I CCvlIUUA through a set pf blades that mark 

it into sections {mown as “bis- 

Record manufacturing has come pressing of a large number of fin- cuits.” Each biscuit contains just 
a long way since 1877, when ished records. After an outstanding enough material to make a record. 
Thomas- A. Edison invented his artist, such as Caruso, has died. The majrked sheet continues 
famous tinfoil machine. This in- they are the only permanent ex- through, a long cooling tunnel, at 

strument, which not only recorded amples of the contributions he has the end of which it is broken along 

but reproduced sound, consisted made to our cultural heritage. As the lines into individual biscuits, 

of . a sheet of tinfoil wrapped such, they are stored in vaults for Samples from each batch are tested 

around a cylinder. Sound vibra- safekeeping. In the case of RCA and stored for future use. 

• tions caused a -needle to indent the Victor, there ate some 70,000 The operation now switches to 
tinfoil as the cylinder turned, priceless disks guarded against the the pressing department. As pre- 
Then, for reproductions, or “play- elements in a fortress-like building viously explained, metal stampers 
tog,” the procedure was reversed, in Camden, N. J. Conuting the have been formed from the dupli- 
. with another needle carrying the working masters, and the No. 2 cates made from the master rec- 
aound to a horn. masters, in addition to the orig- ord. Two metal stampers are re- 

The record manufacturing indus- inals, the library contains 278,000 quired for a record, one for each 
try was slowly evolving, but at. its recordings. side. In the record press, the 

best the record was a clumsy thing. So instead of using the master, stampers have been perfectly cen* 
and the reproducing machine a meld is taken of it and is used tered to guarantee accuracy, 
was sometimes referred to as a to make the stampers, which actu- The record press resembles a 
“screechbox.” ally do the job of record-making, huge waffle iron, with one stamper 

The Victor Talking Machine Co., Stampers are made of solid nickel at the bottom and one at the top. 
and later RCA Victor, spent mil- with a tough plating of chromium The labels which will appear on the 
lions not only in the scientific de- to make the surface harder. The face of the record are placed on 
velopment of record manlifactur- number of stampers made from a the stampers and cemented into 
ing but in selling the idea of mold depends upon many finished the finished record. 

“canned” music to the world. It records are to be produced and The record presses are semi- 
also spent heavily to make the dog how fast the job must be done. automatic units. The operator 

lis tening t o “His Master’s Voice" -j — = — 5 = r places two labels and a preheated 

.one ►of the world 4 ? faiiiuus-trade- , r L.„r^ c 5 ss . es L biscuit in the press and touches a 

marks. Throughout the plating proc- lever. From there on, the opera- 


34 MC6H»S Wednesday, October 1, 1953 


When Johnson Sang Cohan 

Eldridge R. Johnson, founder of the Victor Talking Machine Co 
is said to have made the first Victor record — his own rendition «« 
George M. Cohan’s first big hit, “I Guess I’ll Have to Telegram! 
My Baby.” Since the song came out in 1898, platter probablv 
was made the same year. So far as is known, no. copy is extant 
(Many other artists, of course, had recorded for the first disk 
records made by Emile Berliner, whose patents Johnson acquired! 

One of the oldest master records still in RCA Victor vaults i«T 
“Tell Me, Pretty Maiden,” recorded Jan. 21, 1901, by Vess t 
Ossman, “The Banjo King” (1868-1923). This is the still noniiia^ 
sextet number from “Floi’adora.” p r 

In October, 1946, RCA Victor held an elaborate ceremony to 
commemorate pressing of the one billionth record. Pressing was 
supposed to be Sousa’s “Stars and Stripes Forever” and “Semper 
Fidelis” marches, played by the Philadelphia Symphony Orch. But 
through a mistake, a wrong label and master were brought out 
for “Stars and Stripes,” so that what was ‘ actually pressed wa« 
“Banjo King” Ossman's ancient “Tell Me, Pretty Maiden.” 

That was embarrassing, because the record was to be presented 
to the U. S. Marine Corps. But a pressing: machine operator 
philosophically remarked: “Oh well, they’re • going to gold-plate 
the record, and once it’s been gold-plated it can’t be played. The 
Marines’ll never know the difference!” 

Incidentally, Columbia has Victor’s antiquity rating beat' a bit 
A recent checkup in the vaults revealed four seven-inch platters 
sung in French on Aug. 24] 1900, by a forgotten . tenor, Joseph 
Saucier. Disks must have been made by old Globe Record Co 
which was bought out by Columbia, for latter firm, didn’t begin 
disking operations until 1902. It had been aU Columbia cylinders 
up to^Jhen, 


- r r ’ “v ~ w nu w utoi juu iuuot uc v^uitc* *««••***» — w r 

~!©n*e *Of the world 4 ? famuus~trade- i biscuit in the press and touches a Puccini On Phonograph Records 

marks. Throughout the plating proc- lever. From there on, the opera- O JT • 

j Three Prime Steps I esses, the plating solutions are un- tion is automatic. The press — 

— der continual chemical control, closes with hydraulic pressure of . . „ ... .. „ 

Today, the making of a record and the electroformed parts — mas- many tons. Steam circulates for a George R. Marek, music critic O. Sole Mio. H e n c e, during 

breaks down into three phases: (1) ters, molds and stampers — are in- few seconds, and then cold water and present head of RCA Victor’s his visit Puccini published a letter 

the artists whose performances are spected visually, and in many cases cools the’ press and hardens the artists & repertoire, in his book, ln ** e ndd discussing 

recorded; (2) the science of sound microscopically, to make sure no record. The heated compound has «. A T? rnn t at the Ooera ” hac c °Py ri Sht laws as effected by re- 
recording; and (3) the complex defects exist. Molds are actually been. forced to duplicate precisely . . ’ • Producing instruments, 

processes used to convert the orig- play-tested. the lacquer disk made in the stu- this reminiscence of Giacomo Puc- He observed that these laws 

inal recording into a large quan- The principal ingredient of a dios. cini s firs * vlslt to New Y °rk • were promulgated when ‘no such 

tity of finished records. “45” or Long-Playing record today Every record is examined for “While he was here (New York), means of reproducing sound waves 

To begin with, In the case of a is a vinyl resin, to which are added visible defects before being placed Puccini concerned himself also were dreamed of.’ And, he con- 

popular recording, the bandleader lubricants, stabilizers and coloring in the envelope. At frequent inter- with a new instrument which was tinued, ‘While I am heartily glad 

*nd the • company's “popular” re- materials. Despite the fact that vals, samples are selected for audi- to be of considerable importance to note that eminent interpreters 

cording director get together and most people still call the 78 rpm ble testing. Highly-trained women to the consumption of his music, of my music, including fellow 

select the tune$ to be recorded. record “shellac,” this material is in especially constructed sound The popularity of the phonograph countrymen like Messrs. Caruso 
Once this is done, the leader no longer used in its manufacture, booths search for possible defects has so increased in recent years and Scotti, are not only paid 

must confer with his arranger, plan Instead, the 78 rpm record of today in tonal quality. Should a single ,that we sometimes forget how old princely honorariums for render- 

the orchestration, assign the vocal- is made of synthetic resins, lime- record prove defective in audible it really is. As far back as 1907 ing solos from my operas into pho- 

■1st, make sure the chorus is in the stone, slate, carbon black and other tests, it is discarded and the en- the phonograph was taken serious- nographs but are also allowed lib- 

proper key with his or her voice, materials. tire lot is examined. The stamper ly by Puccini, taken seriously as eral royalties from the sale of the 


By JIM WALSH 


principles of justice, equity and 
square dealing, will join hands 
with Italy in the suppression of 
this form of musical piracy.’ 

“Furthermore,” continues Marek 
in his excellent book (Allen, 
Towne & Heath, since succeeded 
by Crown Publishers; 1948 copy- 
right; $4), which is aptly subcap- 


Although the old Victor Talking Reeves Johnson, inventor and faced 10-and 12-inch records early 

[achine. Co., forerunner of RCA largely owner of Victor talking in 1909. noser s perfor mers nerformances 

"h/tt. ^ posers, periormeis, peuormances 


able, whistleable and hummable, time have been specified as a re- high standard of quality in today’s spectability and impetus by mak- slight pecuniary recognition . . , 
In the studio, most bands record suit of laboratory tests and are 1 recordings. ing a number of records, including I am sure that the American peo- 

* series of four sides at one three- pie, who are firm believers in the 

nour session. . -*-■« * •*— i -g a -a principles of justice, equity and 

™ srsiS’L™™’"'"’' Johnson s Early Struggles Another SH’SsinEf'''"" 

U; S. Romance of Business s5S33 

. neers while the orchestra runs 

. ByJ,M WAL5H right; $4), which is aptly subcap. 

.while studio acoustics and micro- Although the old Victor Talking Reeves Johnson, inventor and faced 10-and 12-inch records early — f a mnn« 1 nnAr!iQ CC ?hpii' 0 mm. 
phone, placement are adjusted to Machine. Co., forerunner of RCA largely owner of Victor talking in 1909. nprfnrmprc nprfnrmanceq 

nlfi v. n a 1 n ..Li.... J 1 l TV ; , | , _ . J 1 „ 1 J i 1 * " . _ _ ^ ^ ^ * ROUS was one and audiences,” Puccini “wished 

Once balance is achieved, a test Big of the phono and platter biz, “Twelve pr 15 years ago the of the most useful employees Vic- not onlv to be Daid but also (and 

tape recording is made to be played the going wasn’t easy in its year- talking machine was a joke — in- tor ever had. A baritone singer sensibly urged* Tf'the music box 

£p«r TWefe ? ntir fi orchestra to lMg da y s - teresting but ludicrous. Today the with long operatic experience, he manufacturers desire to reproduce 

xiear. inis is to .allow tor varla- After acquiring the rights to use under the assumed names of S. H. made hundreds of solo records my melodies it seems to me that 

tions in balance, correction of Emile Berliner’s disk record pat- Dudley and Frank Kernell (nearly greatest singers of the world draw I should have the same liberty 
small mistakes, etc. Then the fin- e nts, Eldridge R. Johnson, a Cam- all comic and whistling special- a large part of their income from 0 f selecting the medium and the 
: recording is made on tape, den machine shop operator, began ties); was the baritone of the Hay- these same machines. This year methbd by which they shall be 

Une advantage of using magnetic to turn out “talking machines” in den Quartet; assistant manager of Caruso will get royalties amount- transmitted to the public as I have 
tape is that it can be edited.” If a small way in 1898. Berliner the Camden recording laboratory; ing to about $70,000 from the Vic- i n choosing the managers and the- 
a.mistake is made, that portion can seven-inch records were succeeded author of the first editions of the tor Co. All languages and dialects atres that produce my operas . . . 
be recorded again and spliced into by Improved records of the same Victor Book of the Opera, and for are recorded, every country’s mu- t* hp noted 

the ongmal. A final recording size, which had Johnson’s name 17 years the record catalog editor, sic is represented, and at the great tw S i mnn cw nf 

might consist of parts of two or on the label as the manufacturer, Shortly before his death in 1947, works in Camden they can send inei- 

three se parate reco rdings. but in some instances gave the Rous wrote a letter recalling some out a machine a minute. ii ma ’ TvJltrnnnlitan 

J-- Z itSt Technical Step r . J. nam ® (i ” . a $%*** °V he ° f hiS early ex P eriences: ‘“I remember’” said one who Opera premiere Feb. 11 1907, with 

The first technical step in the J? ack 2- as tke ^°? s 2 1 t? 1 at ? < i Talking .“The Victor people were never worked with the inventor in the Farrar Caruso Scotti and Homer 
making of a record takes place in M a( ; hln T ® Co *» °£ Philadelphia. In afraid to ‘gamble’ with some new early days, ‘that we had no place i n the Italian original a year after 
the studio where the performance 190 L Johnson began to put out idea . . . They put out a specially for the singers to record in ex- col Hpnrv W Savage had pre- 
is placed on a master tape. In the seven-inch Victor records and 10- good (for the period) record of cept a loft that you got to with sented an Fnglish version on 
RCA' Victor studios in New York, mth MonarChs These also named mine, a classic called ‘Put Me Off a ladder. I would scurry, around, Broadwav had an awareness of . 
for example, the walls and ceilings Eldridge R. Johnson as the manu- at Buffalo.’ The company was al- get some poor devil to come and recordings and nronerty rights on 
have been carefully processed to facturer,’ and the dog trademark, most down to its last dollar, but sing for a dollar in real money rSSc mln™ the 

j ac ™stical perfection. At I Golden Opportunity Lost | °? er _ e< L one of thes ® records and then I’d push him up the famed Victor Herbert vs. Shanley’s 

Restaurant case in 1917 solidified 

c««-iuacu uuum wmen is me control * ““»**'*■ -■«'*«*»- ■ -i-naumiw • ih ■■««&. a,v. a. ana oumeumes me voice would record a^pap whir.v» wnc nr^nnized three 

room and nerve center. In this a . mi R l onaire by the turn of a If I remember right, they sent out and sometimes we would have years ••'even. prft 

room is the monitor panel, where ha l r * During my four years of rec- 100,000 of these, and were down nothing but failure. thl TwHsht Law of 

an engineer controls the quality or( * ma ^ing I had managed to save to the last cent when the returns “ *j sometimes think an T watph the basic Copy 6 , 

and loudness of the music * 5 - 00 ?* and when the Victor began began to come in . . . During this Melba J ? Ch x 5 ovide f {-L? 

When a recording session is fin- to climb up I was urged to put period Johnson was struggling to singing in our laboratorv of a t0ry 2 ° royalty per • 

ished, the tapes are carefully my money in company stock, then improve his product while keep- woman I got to sine for and 
checked, then recorded onto disks, jelling for $40 a share. I refused ing his. financial head above water. i n the beginning I can see her secure in 1905 when he published 
These disks may be “45’s,” “78’s,” io ™ k J n F ^ UTe ^ 0U . t -J^ sha f es He frequently could not raise now a stoT good-natured crea- fsatorday Evirfnl Post ad chort- 
or Long-Playing (33^) platters. a f, ^l,’ 280 ’ P ? C ®j ln j 192 J’ pl ?» money to pay .the boys in his ma- ture who* had come in the rain ling that his company had grown 
Each lacquer disk is tested in ‘the jlLS, ose fat dlvldends for ^ chine shop, and gave them part without an umbrella to sing for in four years from a one-room 

recording studio and is then y eals - of it in stock of the infant com- a dollar or so. She had a long shop to a big business with an | 

shipped to the manufacturing An even more 'revealing glimpse pany. Lucky boys! Most of those feather in her hat and it hung annual volume of $12,000,000! j 
pl i n u t , . °f Victor’s early struggles was boys became rich.” over one. ear and dripped water Meanwhile he Drobably hadn't 

cnJiJ 6 again te f ts and in ' gl , ve T n , by a ? unidentified associate used by arrangement with the on the floor of the loft. been above accepttog payment for 

spects the lacquer and starts the of Johnson’s, quoted* in the Talk- Gramophone & Typewriter Co., of t f? s r inserting advertising plugs into 

plating processes The first step is mg Machine World for Sept. 15, England, didn’t appear until late ! Unsung Heroes [ domeoihisrt^of^OniseW 

to silver the disk.” By chemical 1910. Here are some excerpts from in 1901. That was also when the “ ‘What‘ a time I had getting inch Victor made by the Haydn ' 

methods similar to those used on the article, headed “A Real Cap- name, Victor Talking Machine Co., her up the ladder too? ? Quartet about^ 1902 Y the already 

s&^sToposS? Sacel ^ ** ^ 0n ^ ^ ‘ UjWg 

few millionth <; of in inohthh* -w. 8 ® . Twelve-inch records didn’t ap- mg into the machine so much that each syllable as sharply as if " e 

Then comes a thin Fron ? a ,. s 5 0p } 7 feet P ear untl1 1903 - In that same year she wanted to come back every day were biting it into the wax: 

on top Tf the silver and thin a 1° 3 " S ta B bIlshment c ° ver - a few 14 ‘ i ? ch were made for dance end work with us. And then there “Waiter! Bring -me-a-pac-k-f 

thick Iaver nf nnnnJr whi„ CI »hf lng - 15 acres of floor space; from purposes but were soon cut out. was a vaudeville chap, down and Sweet Caporal-cigarets- 1 h e 
siiver-nkkil.ionnor P ^;,^^ L f,? mc ? me U f 1 ? a w “k-when These were all single-faced, sell- out, who wore a frock coat and kind worth-smoking!’’ 

P?ve: r °with h r i <i a B S U in S tead S of j J $5^ S/lrflS ly s^iUfchangid'' hag 

g ™s S 'mastor record is far too 1 a^^ecord 6 m7^‘yearl' Tork" The' atlflc TtaM? i^h “ « T 1 ^ Victor h.d some tough go- t'B 

used directly in .the man who made it is Eldridge I when VictJ b^utht^t »- fel7 ^ 


to “silver the disk.” By chemical 1910. Here are some excerpts from in 1901. That was also when the 


Wednesday, Ocfrber 1, 1952 


RF.COKHS 


Kidisks a Big Business 

By STEVEN R. CARLIN 

( Director , Children’s A & R) 


Seven or eight years ago Variety coined a new word, 
“Kidisk.” This meant that the children’s branch of the 
record business had now grown sufficiently large to merit 
Variety’s unique form of recognition. 

Children's records are not entirely 
new. Some date as far back as 1910. 
Only in the last decade, however, 
have records for the small fry grown 
into big business. To'day no major 
company is without a children’s rec- 
ord department. 

Each year several hundred different 
kidisks are released by all companies 
combined. Interest in children’s rec- 
ords is so great that improvements 
and innovations occur with almost 
every new release. These improve- 
ments are on every level — packaging, 
subject matter, script technique, 
dramatization versus straight narration — even the raw 
materials that go into the factory manufacture of the 

record. 

Twenty years ago, a children’s record was made by a 
solo voice and a piano, and packaged in a brown kraft 
paper envelope. The record itself was shellac, and easily 
broken. Since that day, almost every element of produc- 
tion and merchandising of kidisks has completely changed. 

To begin with, record companies have discarded the 
breakable shellac record for children. In its place they 
have substituted the non-breakable vinylite. Instead of 
a piano to supply music, a full orchestra is used. Instead 
of a single voice, a full cast of characters plus a narrator 
is used. Actors are read for parts just as occurs in a top 
radio drama. One part, that of “Winnie-the-Pooh” (a top 
selling RCA Victor album) was read by 42 separate actors 
until the right voice was found. 



Steve Carlin 


| Four ‘Musts’ . | 

When a children’s record is planned infinite care is 
taken to include four major “musts.” 

First, the story is built around a central character so 
that the child who listens can immediately identify him- 
self with the character. If this* central character is familiar 
to the child — all the better. “Donald Duck,” “Rudolph 
the Red Nosed Reindeer” make excellent characters on 
which to base any adventure. 

Secondly, because a child’s span of attention is lim- 
ited, the young listener must have a change of pace every 
10 or 15 seconds. The script is written, therefore, so that 
a sound effect, a figure of music, a new voice, breaks the 
pattern four or five times a minute. 

Thirdly, the production of the record is designed to 
provide three equally spaced high points per record side, 
with each side winding up with a semi-climax or “cliff- 
hanger.” Semi-climaxes must build up to a resounding 
final climax. 

Finally the narrator of this story serves as a sort of 
“host" to the child, setting the mood of the story. Some- 
times the narrator has very little to do. He merely opens 
the story and closes it. Nevertheless, his presence is es- 
sential. 


Other important factors are the musical backgrounds 
and sound effects. Music on children’s records is not in- 
tended to stand out by itself, but serves as an enriching 
supplement to the story. Sound effects may include both 
realistic sound and “nonsense sound” designed for laughs 
alone. A small effect like Ed Wynn’s giggle in the “Alice 
In Wonderland” album may have little story value, but 
sparks the production throughout. 

] Other Values 

Twenty years ago the kraft paper envelope served only 
one purpose — to protect the record. Today the envelope 
or album is an elaborate art production which is designed 
as an entertaining campanion piece to the record. Some 
records are packaged in a full color storybook, in which 
text and picture add to the child’s enjoyment. RCA 
Victor’s most recent “package” is called the “6-in-l” al- 
bum — aqd is truly the most unique single record package 
ever released. The “6-in-l” album provides 6 ways for 
the child to have fun. Included is a coloring book and 
punch-out finger puppets so that the youngster can per- 
torm his own puppet show. The new “6-in-l” albums, 
contain either a single 45-rm record of two 7-inch 78-rpm 
records in each package. 

An average of about 40 titles are released by RCA 
victor each year. This list may include several major 
storybook albums, a number of 2-record sets, And a long 
st ot single records. Most of the records are based on 
, p , n , lon picture and TV properties with Walt Disney 
anri laC i rankin S k *2h on the list. Mother Goose records 
Ui ° rc ^ s c * ass * cs make, up the remainder of the' 


a RCA Victor catal °g of “Little Nipper” records hai 
sin™, l e j )urpose — child entertainment through wholeson 
inrirtJa ii S0 ? g ex P eri ence. A “Little Nipper” record nu 
a hv-m. a i ly . tea ^ h a child how to count, but that is mere! 
«vmnafh°i < * U i < ? , » If , the child is pleased, if he is moved 1 

overowi!’ if e lau ghs, if he plays the record over an 
gain, the mission is accomplished. 

bv thp S U? ce u S * u ^ y m * ss * on is acomplished is indicate 
that hit RCA Victor “Little Nipper” recort 

Nipner-' r« he 5 es £ sellin S charts. In 1952, more “Litt 
of the mm! 0 !? Rave reac hed the best seller list than a 
. npetition combined. Kidisks have come of age! 


Adults and Kidisks 

showS'Th?'. C „°„ n i ucted at the request of RCA Victor, 
by „ * nt ,? 0 % of children’s records are bought 

father' 9 qp, y mothers alone 48%, by mothers and 
Tl . % \ and father s alone 13%). 
rents 9 rn^ S ' j nc * den tally » don’t accompany their pa- 
bought U 0 °* ^ me when children’s records are 


di.sin^ S o? U fi n ^ y# RCA Victor now aims Its merchan- 
tho 7 * ose who really buy children's records — 
* Parents, not the children. 


The 4th ‘R’ for School Kids 

Ann another “R”~ for records— to the traditional three 
“R’s” of education. 

Today, phonographs and records are standard teaching 
equipment in virtually all of the nation’s schools. 

This widespread distribution of phonographs in schools 
indicates the scope of the potential market for recordings 
expertly selected and prepared for use in education, and 
the sales opportunities open to record dealers who culti- 
vate this field. 

Educational records take many forms. In addition to 
their prime use in the* teaching of music appreciation, 
some are used to illustrate excellence in instrument and 
vocal performance. . Others contribute to the teaching of 
historical, geographical, cultural, literary, and artistic sub- 
jects. In all cases, educational records help the teacher 
to illustrate, dramatize, and generally vitalize the subjects 
to which they can he applied. 


| ^Singing School’ Series [ 

Significant among recent developments in the field are 
records especially designed to accompany song texts. RCA 
Victor's 10-album “A Singing School” Series, for example, 
is designed to complement a set of basic music textbooks 
of the same name, published by C. C. Birchard & Co. 
The albums, like the books, are graded according to school 
levels, and were prepared with the cooperation of music 
editors of the Birchard organization. 

More comprehensive in scope is RCA Victor’s “Basic 
Record Library for Elementary Schools.” The 370 mu- 
sical compositions in this library, recorded on 83 records 
in 21 albums, are designed to provide a planned course of 
music teaching through primary and upper elementary 
grades. Complete with teaching notes for instructors, the 
library was selected and organized by Lilia Belle Pitts, 
professor of music education at Columbia University’s 
Teachers College, and Gladys Tipton, associate professor 
of music at the University of California in Los Angeles. 

Indicative of the variety of material now offered on 
educational records, RCA Victor’s repertoire also includes 
foreign language instruction, folk dances of the U..S. and 
10 foreign countries with illustrated instructions, and a 
special album, “Instruments of the Orchestra,” which is 
designed to help the student to identify the sounds of the 
different instruments. 

The coming of the 45 rpm system has given added im- 
petus to the use of records and phonographs in the class- 
room. It provides the school with relatively low-cost 
equipment and discs. The compactness of the phonograph 
and the storage advantages of the tiny records make prac- 
tical their application in classrooms where space is at a 
premium. And the simple, automatic mechanism and the 
non-breakable, easy-to-handle records make record play- 
ing easy for the teacher and practical for even the young- 
est of students. 

From the dealer standpoint, music in education also 
provides a sales potential for the future. Youngsters who 
learn to appreciate music in the classroom today will be 
record customers tomorrow. The record dealer who has 
an active interest tn the J&our “R” of education is building 
sales for the future as well as the present. 


How to Relax Those 
Recording ‘Nerves’ 

Stand on your head, walk barefoot or whimper like a 
puppy, if you want to be a successful recording artist. Talent 
and musical training also count but the singers and mu- 
sicians who have developed unusual methods of relaxing 
before the microphones often make the most effective 
recordings. And nobody blinks an eye if the artist does 
somersaults or yogi contemplation before the warning red 
light turns on for a “take.” It’s the good record that 
counts. 

Rise Stevens, Patrice Munsel and Lisa Kirk, for ex- 
ample, seem to feel -better -singing in their stocking feet. 
Arturo Toscanini wouldn’t record without a large supply 
of licorice drops and sugar cubes to munch on. Kirsten 
Flagstad drinks tea and Ezio Pinza consumes pots of 
coffee. Jose Iturbi plays and directs the orchestra with 
an unlighted cigar in his mouth, and Robert Shaw always 
wears faded denim work pants, shirt and well-worn tennis 
sneakers while conducting his famous chorale. 

Two-piano team (Arthur) Whittemore & (Jack) Lowe 
wouldn’t start a disking session without carrying an old 
pair of cigaret lighters in their pockets, given them after 
one of their first public appearances, a ship’s concert. 
Wanda. Landowska,. wears Jk.oi.t.ted..slippers at the pedal of 
her harpsichord, and eats fresh fruit and rests under a 
blanket of South American lama skin between takes 
when recording at her Lakeville (Conn.) home. The Land- 
Weska manse in Connecticut, incidentally, is used for re- 
cording the harpsichordist because of its unusually good 
acoustical properties. 

Amparo Iturbi, Jose’s pianist-sister, finds the hard sur- 
face of the recording 6tudio floor best fqr stretching out 
for relaxation while listening t ) playbacks, and Radio City 
organist Dick Liebert has been known to stand on his 
head on a nearby piano top to increase his blood circu- 
lation, during a taxing recording session at the organ keys. 

During the recent recording session of the opera “Car- 
men,” Walter Surovy, husband of prima donna Rise 
Stevens, spat delicately on her celebrated neck. This is an 
old Czechoslovakian good-luck custom, observed by the 
Surovys prior to every recording session, and other im- 
portant events. 

Brilliant young concert pianist William Kapell has been 
known to' dip his hands in a bowl of salt water before 
launching into the recording of a taxing Prokoffief or 
Rachmaninoff Concerto. 

Add gourmet notes: Patrice Munsel sips a cup of tea 
with a spoonful of honey, before hitting her high C’s. 

Though never apparent on the finished records, these 
are the oddities of personality and interpretation which 
add that indefinable something of color and authority to 
the end performance. 


S3 


The Phonograph Record 
In Education 

By L. V. HOLLWECK 
(Mgr., Educational Division, RCA Victor ) 


Remember the famous “Morning Glory” horn of the 
Victor Talking Machine Company? Back in the era 1915- 
1925, that horn was practically the symbol of music ap- 
preciation in the schools of America. Any one over 45 

can testify that what little music edu- 
cation he or she received, other than 
in an occasional singing session, was 
heard and taught through that famous 
horn. 

Many record companies today rec- 
ognize more than ever the importance 
of the school market for their prod- 
ucts. In terms of present unit or dol- 
lar sales, it may seem unimportant 
for it certainly cannot compare to 
pop or classical music. But sales to 
schools have far-reaching . effects — 
every youngster, exposed to records 
in school, becomes a potential cus- 
tomer in later years. 

Music education at the turn of the century consisted 
almost exclusively of class singing, or as choral activity 
in high schools and colleges. If children in the elemen- 
tary grades learned anything about music in those days it 
was in spite of what was taught In schools. 

There were many music educators back at the time who' 
fought for more and better music in schools, but it took 
the vision and energy of Dr. Frances Elliot Clark to rec- 
ognize that the phonograph record was the device which 
alone could provide the means of accomplishing what 
were merely idealistic dreams at that time. 

Dr. Clark, now a nonagenarian affectionately known 
by music educators throughout the country as the “Moses 
of School Music,” was music supervisor in Milwaukee 
when she first experimented with records in the teaching 
of music. So successful was she, and so convinced of the 
value of records, that she gave up teaching to accept an 
offer by the Victor Talking Machine Co. on April 1, 1911, 
to become Director of its newly formed Educational De- 



L. V. Hollweck 


partment. 


Big 


Force in Education 


From that date on, music became a living force in 
American education. Dr. Clark employed dozens of for- 
mer music educators who toured the country demonstrat- 
ing the new teaching and new aid and implementing 
music in the curriculum as it had never been done before. 


Dr. Clark was responsible for the first release of records 
made especially to fit school needs. In increasing quanti- 
ties, year after year, came specialized records in the field* 
of singing, rhythmic activities, folk songs and dances, lis- 
tening, and records for many other special school activi- 
ties. 

Today music educators everywhere acknowledge the 
tremendous value of the phonograph record in their over- 
all music program. Without it, their efforts and work 
would be as incidental as it was in 1900. For in those 
dairs, music consisted primarily of a “singing class,” per- 
haps once a week. The school band or orchestra was 
practically unknown except in a few major cities. Today 
the school music program has a place of prime importance 
even in the one- or two-room rural school, thanks to 
records. 

Today’s student not only learns to sing, but also de- 
velops poise and grace through rhythmic music from pho- 
nograph records; he listens to music for the pleasure it 
affords; he learns to identify instruments which leads 
eventually to his participation in the school band or or- 
chestra; his physical education is enhanced by the rhythms 
of records; he learns of other lands, peoples, and dances, 
through folk song and dance records; he may even learn 
to be a better typist because of the rhythmic accompani- 
ment of records. 


In fields other than music, records are becoming more 
important, especially in the social studies. Schools use 
records today to assist the teaching of speech and drama; 
to bring dramatized history into the classroom; to bring 
poets and their readings to the student; to teach human 
relations. 


The phonograph record is just coming of age in the 
schools. How indispensable it has become is shown by 
the fact that today almost 95% of all schools have phono- 
graph equipment. In the growing field of Audio-Visual 
Education, the phonograph record is by far the most uni- 
versally used device. But more important, is the ever 
increasing realization by schools that records are an In- 
expensive, vitalizing aid to a better teaching program, 
that they can provide material not obtainable otherwise. 
The future of the record in schools is great indeed, with 
resulting benefits to all concerned — the school, the teach- 
er, the student, and the industry. 


Kidisks Boon to Teaching 

The three R’s of school days are making room for 
“The Three Little Pigs” and “Snow White.” 

A visitor in today’s classrooms might hear such 
fables as “Snow White” or Prokoffief’s “Peter and 
the Wolf” coming from RCA Victor 45 rpm phono- 
grap records. The records would be part of the read- 
ing lesson. A matter-of-fact male voice would tell in 

vivid style the stories of the childhood favorites while 
the kids followed, word for word, in their texts. The 
narrator would even tell the kids when to turn the 
page. 

This use of children’s records Is reported by RCA 
Victor as the result of a survey to determine just 
what records youngsters want to hear. 



86 


RFXOKttS 


Wednesday, ^October 1, 1952 



B way Stars Even Back in Early 1900s 

Point never has been made with one of his proudest moments came 


enough clarjty that in the palmy 
days of the acoustic phonograph, 
recording artists were much more 
important personalities to the aver- 
age American than the more high- 
ly-touted celebs of Broadway. 

Thousands of persons in larger 
cities would see John Drew, Ethel 
Barrymore, et al., but millions 
bought disks. and cylinders by spe- 
cialists in recording art. In small 
towns and country, especially, Ada 
Jones, Billy Murray, Arthur Col- 
lins and dozens of others whose 
names mean little now except to 
specialists in diskology, seemed 
like members of families in count- 
less- homes. Without- competition 
from radio, their records were 
played over and over until they 
were known by heart and every 
little trick of performers' person- 
ality was mastered. Each artist had 
his own individuality, too, instead 
of trying to sound like somebody 
else. Billy Murray was always un- 
mistakably "The Denver Nighting- 
gale" and could never be mistaken 
for Henry Burr, who became 
known later as "The Dean of Bal- 
lad Singers.” There never has been 
a more remarkably versatile and 
richly talented group of pop artists 
than those who made records for 
some 30 years beginning in mid- 
’90s. 

Film stars, no doubt, get more 
fan mail than Ada Jones, but none 
more sincere. This pleasant, portly 
woman, unfortunately subject to 
epileptic seizures, was the dream 
girl of millions of record buyers, 
from 1905 until she died in 1922. 
She was swamped with proposals 
of marriage by mail. Australian 
and Klondike gold miners, bask- 
ing in the warmth of the soprano 
voice that issued from the morn- 
ing glory horns of their old-style 
phonos, singing "The Bird on Nel- 
lie’s Hat” or some other hit, wrote 
letters by the dozen, imploring her 
to share their lonely lot. Light- 
house keepers also wanted Ada to 
help them trim the lamps. From 
the heart of Africa she received 
"won’t you marry me?” appeals. 
The impassioned correspondents 
didn’t suspect their buxom divinity 
was already happily married to a 
vaude performer, Hughey Flaher- 
ty, whose fame never approached 
hers, and was devoted to her little 
daughter, Sheila. All three are 
dead now. 

Miss Jones’ duet partner, Billy 
Murray, who is the .one great sur- 
.viving link between the primitive 
phonograph of the ’90s (he began 
making records as a kid in short 
pants in San Francisco in 1897), 
recalls that his experiences were 
somewhat different and more an- 
noy ing, Murray was well known 
as a teetotaler, but wherever he 
went on his concert tours he was 
approached by some anguished 
record dealer who informed him 
there was a drunken bum _in the 
town pokey claiming to be Billy 
Murray^ He remembers ope dealer 
exclaiming: "Gosh, I’m glad to see 
you! The jailer has^just put in 
a call to the Victor people at Cam- 
den and told them to come down 
and get their star comedian, Billy 
Murray, before he drinks himself 
to death!” 

) Wax Works’ Dreamboat ] 

One of the "Nightingales” funni- 
est experiences was with a lady 
lion tamer with a chorus. Her 
'* namnr 'wasirfr -Xantippe-, —-but - -that 
will do. Xantippe began calling up 
Murray’s home at Freeport, insist- 
ing she was married to him and 
demanding that he come back to 
her. This went on until the comic 
decided the nuisance must stop. 
So he agreed to meet the gal, 
and he, his wife, and his pal, 
Monroe Silver, drove to the ren- 
dezvous. 

Xantippe proved to be a husky 
wienie, about the size of half a 
house. The trio emerged from the 
car. “Now,” said Mrs. Murray, 
"look these men over and tell us 
which is your husband?” 

Xantippe flicked a scornful eye 
at Jones and Silver, both of the 
half-pint variety. 

"I'm not married to either one 
of these middle-aged shrimps!” 
she said. "The Billy Murray I 
married was a , tall, young, good- 
lookin’ guy!” 

Murray had several other experi- 
ences with William Murrays who 
took brides on the fictitious 
strength of being the most popu- 
lar singer on platters. But he says 


when he was walking down a Free- 
port street, and a middle-aged man 
stopped and introduced himself. 

"Mr. Murray,” he said, "you 
don’t know me, but you saved my 
life once.” The man explained that, 
back around 1905, as a youngster, 
his firm sent him to China to work 
in its office there. A couple of 
weeks after his arrival he was so 
homesick he was thinking strongly 
of suicide. Wandering through the 
"foreign” section of Shanghai, he 
heard a cylinder phono playing 
Murray’s record of "45 Minutes^ 
From Broadway.” The tune at-** 
tracted hii so much he bought 
the machine and that one record, 
which he "played over and over. 

"Somehow,” he said, "your voice 
seemed to bring Broadway back 
to me and I felt almost__as if I 
were back home. As my homesick- 
ness wore off, I bought many 
other records and gradually grew 
to like China, but I’ve always 
given your *45 Minutes From 
Broadway’ credit for saving my 
life— and I swore that if I ever 
got back to New York I’d look you 
up and let you know what you did 
for me!” 

Artists who wanted a chance on 
the platters found things differ- 
ent in the beginning days of the 
phono. W. Stanley Grinsted was 
working in an Orange, N. J., bank, 
when Edison first began putting 
out his two-minute cylinders. 
Grinsted thought it would be 
"fun” to try making records, so 
applied to Edison. He had won 
a New Jersey banjo playing cham- 
pionship, so he was allowed to 
play accompaniments to “coon 
songs,” using the assumed name 
of George S. Williams. 

A little later it was discovered 
that Grinsted had a fine bass- 
baritone voice, so he switched to 
vocalizing and called himself 
Frank C. Stanley — Stanley from 
his given name; Frank from Frank 
Banta, the Edison staff accompan- 
ist; and C. just to round the name 
out. As Frank C. Stanley, he be- 
came world-famous. He organized 
the Peerless Quartet and managed 
it until his death in 1910. The 
leads in the Peerless records were 
not sung, as is usually the case, 
by the second tenor, but — in near- 
ly every instance — by the basso 
organizer and manager. 


THEBANTAS— FATHER & 
SON— PHONO PIONEERS 

* Examples of sons following in 
fathers* footsteps aren’t common 
in the phono and platter biz. How- 
ever, there’s one striking instance. 

Back in the '90s Frank P. Banta 
was staff accompanist for Edison. 
Banta was one of five Edison key- 
board pounders whose names be- 
gan with B. — Fred Bachman, Banta 
himself, Albert Benzler, C. A. A. 
Booth and John F. Burckhardt. He 
also conducted bands and orches- 
tras for all pioneer record com- 
panies. 

Banta died in 1904, aged 33. In 
1916 his son, Frank E. Banta (mid- 
dle initial keeps him from being 
a Jr. ) became accompanist for 
banjoist Fred Van Eps and played 
in the Van Eps Trio. When lat- 
ter signed up with the 8 Popular 
Victor Artists troupe, Banta went 
along" as” accompanist; 'remaining 
with the ensemble until it dis- 
banded in 1928. He played piano 
on hundreds of Victor disks, both 
as soloist and accompanist, and 
also worked to some extent for 
other platter purveyors. Younger 
Banta toured Europe as accompan- 
ist of The Revelers, famed singing 
group of early radio days, and 
caused near-riots in London and 
Paris hotels by faking strong Yid- 
dish accent and demanding mail 
for Monroe Silver. (Silver, famed 
for his "Cohen on the Telephone” 
monologs, was member of the 
Eight. He talked in real life as 
he did when impersonating Cohen, 
and Banta had fun pretending to 
be Silver on trips, even though 
he drove hotel desk men nuts.) 

"Junior,” as other members of 
Eight troupe called him, has been 
-for years a staff pianist at NBC. 
His fathe.’s 1904 cylinder of 
"Violets” was the first successful 
piano solo recording ever made 
by Edison. Younger Banta has al- 
ways leaned to ragtime and jazz 
style of playing. 


P'SfjlE’Fr 

WHEN ‘HECTOR GRANT’ 
HECKLED HARRY LAUDER 

A year or so after Harry Lauder 
had established himself as one of 
the recording favorites of the Eng- 
lish-speaking world, he was put 
out no end to learn that somebody 
by the name of Hector Grant was 
singing his repertoire for the smal- 
ler English companies, such as Edi- 
son Bell and Sterling, and imitat- 
ing him so accurately it was next 
to impossible to tell the difference 
between a Grant rendition and one 
by Lauder himself. 

One day the glowering Lauder 
met Peter Dawson, young Aus- 
tralian bass-baritone who was be- 
ginning to be considered a record 
star. The sawed-off Scotch com- 
edian growled to the equally dim- 
inutive Dawson: "Do ye ken a so- 
and-so by the name of Hector 
Grant? He’s been imitating my rec- 
ords!” 

"Oh,” Dawson replied casually, 
"I believe I have heard there’s 

some blighter by that name who 
makes an occasional record around 
here.” 

"Well,” growled Lauder, "if you 
see him just tell him I plan to 
kill him the first time we meet!” 

Dawson promised. Some time 
later Lauder learned that the little 
guy from ‘Down Under’ was the 
mysterious "Grant.” But instead 
of committing murder he merely 
remarked: "So it was you all the 
time? Well, all I can say is, ye 
ha’e a dommed fine voice!” 

Dawson was known for his ability 
to get under the hide and into 
the hair of his fellow recorders. 
He almost drove Nellie Melba 
frantic, when he sang in a male^ 
quartet which was helping her to* 
record a Stephen Foster song, by 
his incessant, sacrilegious mug- 
ging — something to which the 
great diva, herself an Australian, 
wasn’t accustomed. But she got 
some revenge when he told her 
he was from Melbourne, and she 
characterized it as "that town of 
parsons, pubs and prostitutes!” 

On another occasion, the Russian 
basso, Feodor Chaliapin, almost 
had convulsions because of Daw- 
son. The basso was to sing at a 
convention of hundreds of gramo- 
phone dealers, but — as recalled by 
the late Fred Gaisberg — Dawson 
fallowed Chaliapin onto the plat- 
form, imitated the Russian’s man- 
nerisms of waving his arms, smiled 
sweetly and, in pretended broken 
English, announced in a deep 
voice, "Number 55” — then waved 
to the pianist to start. 

Dawson, still making records 
after 48 years in the business, 
probably never will be forgotten 
or forgiven for the caricatures of 
ther performers he used to draw 
on the walls of recording studios. 
And when Lis 'tenor duet partner, 
Ernest Pike, gave a command- per- 
formance before the Royal Family 
and became exceedingly proud of 
himself, Dawson ragged him so 
unmercifully that — so those who 
remember the tenor say — Pike 
never recovered from the on- 
slaught to the day of his death. 


Early Day ‘Oscars’ 

Nowadays when a performer 
makes a platter selling a mil- 
lion the artist is given a gold 
pressing of the big-time piece 
of wax. In earlier years recog- 
nition took different forms. 

"The Denver Nightingale,” 
Billy Murray, was Victors tup 
seller for more than 20 years. 
As token of appreciation, Mur- 
ray was presented with a 
watch. Instead of figures to 
indicate the hour, the time- 
, piece dial showed his name, 
Billy Murray — with B for 1 
o’clock, I for two, and so on. 
around to Y for 12. Since 
comic’s name contained only 
11 letters, the space for 6 
o’clock was occupied by the 
Victor dog trademark. 

Back in 1905, Victor’s Brit- 
ish affiliate, the Gramophone 
Co., presented a unique brace- 
let to the first popular woman 
violin recording artist, Marie 
Hall. Gew-gaw, made of gold 
and pearls, displayed a minia- 
ture violin, a "tapering arm 
gramophone” and seven tiny 
gold records, representing 
gal’s best sellers. (Maybe 
that’s where the present day 
gold record idea comes from!). 


Edison’s ‘Great American Tenor’ 

After Caruso’s Victor records were a sensational hit, other 
companies began trying to find operatic tenors whose efforts would 
compare with his. That gave some of the wags at Edison an idea 

A' popular recording comedian, Byron G. Harlan, had a high 
tenor voice and, although he didn’t know any foreign languages, he 
possessed a knack of singing a mess of gibberish so tha,t it sounded 
like about any lingo you preferred. He and Bob Gaylor, a staff 
pianist, got together. Harlan recbrded what purported to be an 
operatic aria while Gaylor faked the accompaniment. 

Then, proudly proclaiming he had found "the great American 
tenor,” Gaylor played the record for some of the Edison staff 
critics. They were enraptured. They couldn’t say enough in 
praise of the Great Unknown’s superb voice, impeccable technique, 
immaculate phrasing, elc. There was almost a riot when Gaylor 
grinningly told the truth. 

The gag came to Thomas A. Edison’s attention and gave him a 
belly laugh. Thereafter, when be met Harlan, he would place his 
hand on his heart, bow obsequiously, and say: 

"Ah, the great American tenor!” 


CREDIT OPERA 
UPBEAT IN U.S. 
TO LP’S 

By ARTHUR BRONSON 

Interest in opera in America is 
sharply resurging — thanks to LPs. 
The long-playing disk has not only 
been a boon to the recording in- 
dustry in geneial; it’s started a 
boom for opera via its full-length 
opera albums. 

A new market has opened up 
for opera LPs, especially in this 
country^where operA presentations 
are ‘ not generally available. In. 
many areas, these disks are the 
only opportunity to hear opera. 
The public is getting a chance to 
hear things it never heard before. 
Certain operas, completely neg- 
lected and forgotten, are now 
available on LPs, and people are 
getting increasingly interested in 
them. 

Thanks to LPs, there are 128 
complete operas in various com- 
pany catalogs, from Mozart to 
Gershwin. The LP brought a boom 
in full-length operas for the 
simple, twofold reason that they 
cost less and take up little space. 
A full-length opera that utilized 
18 records of 78 rpm, takes up 
three disks in LP. A "L’Amico 
Fritz” recording that sold at 
$25.92 in’ 78s, sells for $11.90 in 
LPs. No wonder LP has created 
an unprecedented demand for full- 
length operas. 

1 Rosters 1 


VICTOR’S OCTET AND 
‘ORDER OF BEARDS’ 

For many years prior to the 
radio era, the Victor Talking Ma- 
chine Co. was the largest user of 
national advertising. There was 
scarcely an important magazine or 
large newspaper in which Victor 
advertising didn’t regularly appear. 

But one of the most effective 
methods of* Victor publicity was 
the show biz troupe known as the 
Eight Popular (or Famous) Victor 
Artists. Managed by Henry Burr, 
later known as "The Dean of Bal- 
lad Singers,” it included some of 
the most popular performers in the 
annals of platter biz. From 1921 to 
1925 the Eight consisted of Burr 
and the other three' members of 
the Peerless Quartet — Al, Camp- 
bell, John Meyer and Frank Crox- 
ton; Billy Murray, comedian; Mon- 
roe Silver, the 14 Cohen on the Tele- 
phone” monolog specialist; Rudy 
Wiedoeft, probably the greatest 
saxophone player; and Frank Banta, 
pianist. Only Murray and Banta 
are still alive. Murray and Burr 
were the top pop artists of horn 
recording. Murray’s records had the 
highest average individual sale, 
while Burr made more titles than 
anyone else. 

The troupe played everything in 
the U.S. and Canada from tank 
towns to Broadway and W'as a sell- 
out wherever it went. At Appleton, 
Wis., a town of less than 2,000, it 
drew a crowd of 1,600 eager to see 
their phono idols in the flesh. En- 
gaged to appear at one of the big 
Broadway .film houses for 30 min- 
utes between screenings, the Eight 
went over so big the picture was 
taken off and they became the en- 
tire program. 


RCA Victor has 15 complete 
operas in its LP list. Most are in 
the standard rep — Verdi, Mozart, 
Puccini — familiar works like 
"Aida,”* "Traviata” and "Boheme,” 
with well-known Met Opera stars 
as the leads. RCA calls it a boom 
market in operas. Its "Carmen,” 
with Rise Stevens, has been a hot 
seller; its "Traviata,” a broadcast 
performance of Arturo Toscanini 
with the NBC Symphony Orchestra 
and soloists, is another bestseller. 
Company ha<- great hopes for "II 
Trovatore,” th an all-star cast 
of Jussi .fing, Leonard War- 
ren, Zinka Milanov and Fedora 
Barbieri, due in October. 

Columbia has 20 full operas on 
LP, most of them also in the fa- 
miliar, popular repertoire. But 
along with the “Bohemes” and 
"Hansel & Gretels” are some mod- 
ern works, like "Wozzek” and "The 
Medium,” and a few neglectqd 
scores, like Berg’s "Lulu.” Tie-in 
with the Metropolitan Opera Assn., 
with issuance of a half-dozen 
“official” Met albums, has hypoed 
sales. 

Decca has no full operas ofit 
yet, but does have LPs devoted to 
opera arias and excerpts. It also 
has a recording of Rachmaninoff’s 
"Miserly Night,” with the Little 
Orchestra Society, not yet released. 

Of the smaller companies, 
Urania has 18 full-length operas 
on LP, mostly German. 

Heaviest catalog, surprisingly, is 
Cetra-Soria’s, which boasts 42 full- 
length operas in its list. These are 
mostly Italian, with many unfa- 
miliar ones among them. Cetra 
pioneered with early works of 
famed composers, or with works 
of early opera composers, none of 
which was heretofore available in 
the U, S. Of its 42 operas, 32 of 
them arc still available only on 
the Cetra label. In addition to its 
"rare” or scarce works, Cetra is 
now trying to fill out its catalog. 
It now has 11 Verdi operas in Its 
list, most of them his unfamiliar 
ones, and It's trying to add the 
more familiar scores. 


There was plenty of skylarking 
on the Eight’s three-month concert 
tours. To relieve the travel tedium, 
the boys organized The Order of 
Beards. They adorned their faces 
with long red or black beards, 
equipped themselves with small 
hatchets and stalked through the 
train, waving hatchets and mutter- 
ing in their beards sounds that 
passed for Russian. Nervous pas- 
sengers took them for bolshevik 
conspirators and became alarmed. 
It was lots of fun. 

Everybody belonged to the 
Beards except Burr, who usually 
remained in his compartment and 
worried about whether he would 
be in voice at the next show. But 
finally he heard about the Order 
and felt hurt because he hadn’t 
been invited to join. To placate 
him the other seven said they’d 
hold a meeting that afternoon and 
vote on whether to admit him. 

At the next stop Silver left the 
train long enough to buy some lic- 
orice. Soon afterward, the troupe 
went into a huddle in a compart- 
ment, leaving their star tenor-man- 
ager fretting anxiously outside. 
They remained two hours. Then 
Murray emerged, holding a hat. 

"I’m sorry, Hank!” he said gent- 
ly. "You were blackballed!” He 
pointed to the interior of the hat, 
where seven balled-up pieces of 
licorice were on display. 

Burr quivered witty rage. His 
voice less silvery than usual, he 
asked: "Didn’t any.-, of you guys 
vote for me?” Assured no one had, 
he tossed such a tantrum that his 
associates reconvened in short or- 
der, reconsidered, assured him the 
blackballing was just a joke and 
he had been made a full member 
of the Order of Beards! 


Second annual birthday dinner 
for W. C. Handy, sponsored by the 
W. C. Handy Foundation for the 
Blind and originally skedded f<? r 
Nov. 17 at the Waldorf-Astoria 
Hotel, N. Y., has been switched to 
Nov. 13. 




We dnesday? October 1» 1952 

Modem Record Industry’s 
New Ballyhoo Horizons 

By JOHN W. GRIFFIN 

( Executive Secretary, RIAA ) 

Seventy-five years' ago, when Thomas A. Edison made 
his" 'first * notations about a device which could record 
U \ reproduce the human voice,, the great inventive 
genius may have envisioned his brainchild as one of his 
nost important contributions to civilization. It is fairly 
certain, however, that he could not foresee a future in 
vhich millions of recordings are sold every year from vast 
and varied catalogs, nor a future in which his invention 
vvas the forerunner and the backbone of such industries as 
radio and radio broadcasting, phonographs and even mo- 
tion pictures and television. 

Thirty years ago, wh$n the modern recording industry 
was really born, hardly any one envisioned these same hap- 
penings. In fact, it has been less than a year that the many 
phonograph record manufacturers gathered together to 
form an industry-wide association in the hope of benfiting 
the manufacturers, the distributors, dealers, coin machine 
operators, disk jockeys, the general public, and the many 
other facets of the recording and reproducing industries. 

Only two months ago, the record industry, through the 
Record Industry Association of America, laid plans for a 
cooperative promotion campaign to reinterest the con- 
sumer in recordings. Very few industries can gain as much 
from a cooperative promotion campaign as can the record- 
ing industry. It is a well established fact that consumers 
rarely buy a record because of the label or the manufac- 
turer's position in the industry. It is the recorded work, 
the performance and/or the artists’s name which entices 
the record buyer to make a purchase. The manufacturer 
who releases a recording of the desired material, the 
desired performance, or by a desired artist will make the 
sale— no matter the logotype on the label. Thus, each 
manufacturer stands or falls on his catalog. 

A promotional campaign which centers public interest 
on the various types of recordings available to the public 
seems destined to benefit all record manufacturers without 
any one manufacturer walking off with a large share of the 
publicity than any other label. It is on this basis -that the 
RIAA’s Industry Promotion Committee decided to stage 
an experimental promotion campaign designed to stimulate 
public interest in records and record artists In general. 


BROADCASTERS SWING TO ‘45’ 
FOR STREAMLINED OPERATION 

The platter can be tearful, but the chatter must be 
cheerful. That could be a rule-of-thumb for the disk 
jockey. But talent is mixed with a measure of toil in the 
talk-and-tune shops. Part of a deejay’s job is pickin’ ’em 
out and puttin’ ’em on and takin’ ’em off, and all that 
makes for less labor makes, too, for more cheer in the 
chatter. 

That’s one reason more and more radio stations are in- 
stalling the simpler, smaller, lighter-weight 45 rpm rfecord- 
playing equipment and libraries of “45” disks. Among the 
latest to do so are WERE, Wilkes-Barre; WHP, Harrisburg; 
WOKY, Milwaukee; WQXI, Atlanta; WACO, Waco; 
KFJZ, Fort Worth; and KSFO, San Francisco. 

In the days between Edison’s invention of the phono- 
graph and Eldridge R. Johnson’s introduction of the con- 
stant-speed spring motor, the life of a disk jockey woulcf 
have been rough indeed. Johnson’s spring motor was 
the first word in a saga of which the “45” system is the 
latest. Today, the 45-rpm record has become as much a 
part of the deejay’s standard equipment as his musical 
know-how. 

The industry’s swing to “45” began nearly a year and 
a half ago when Philadelphia’s WFIL went “45” with a 
fanfare of promotion. WFIL’s reasons; for going “45” — 
reasons which apply to and continue to attract other sta- 
tions — were summed up by Roger W. Clipp, the station’s 
general manager. 

“In the 45-rpm system we have found the answers to 
numerous problems which confront broadcasters of 
recorded music programs,” he said. “The small size of 
the records and the simplicity of the equipment effect a 
tremendous saving in valuable storage space, facilitate 
programming and record handling by the disk jockey and 
record librarian, and streamline the entire recorded music 
operation. To these considerations must be added the 
superior reproduction quality and fidelity of 45-rpm 
records which provide increased listening pleasure for 
our audiences.” 

j_ Deejaya’ Delight 

Up in Boston, Bob Clayton of WHDH, one of the city’s 
top DJs, tells how the 45-rpm disks facilitate record 
handling. He normally uses 110 records in his ’weekly 
music schedules. Prior to WHDH's swing to 45, he recalls, 
he and Nancie Cole, the station's music librarian, had to 
select and tote some 47 pounds of records for each week’s 
production. With the 45-rpms the weekly load of 110 
records weighs less than seven pounds. Furthermore, the 
small single-size 45s are easier to carry and are non-break- 
able. 


| Hartford the Kickoff 

Such a campaign is now under way in Hartford, Conn., 
under the over-all title, “Greater Hartford Record Festi- 
val.” With the cooperation of all 43 member firms of the 
RIAA. the Industry Promotion Committee is staging a 
series ofjn-person concerts in Hartford which will give the 
public the opportunity to meet record artists in all cate- 
gories of musical endeavor." The events themselves serve 
as the basis for merchandising, advertising, promoting and 
publicizing recorded musical, dramatic and literary works 
being issued by all the labels. 

The experimental promotion campaign in Hartford is 
but one of the RIAA’s plans to stimulate record sales. 

A further attempt to increase interest in and sales of 
recordings is being made through cooperative efforts with 
the Radio & Television Manufacturers’ Association’s 
Phonograph Industry Committee. RIAA and RTMA repre- 
sentatives are scheduled to meet for the purpose of work- 
ing out a program which could result in additional record 
playing equipment being made available to the public. One 
of the hopes here is to interest radio and television manu- 
facturers to increase the number of record playing radio- 
television combination sets being manufactured. 

The RIAA also worked for the adoption of a new fair 
trade law during the last session of Congress. Now the law 
has been passed and the manufacturers are able to take 
advantage of its provisions according to their individual 
desires. 


The various RIAA committees which have been formed 
are presently meeting to work out the problems which face 
the entire industry. As time goes pn, additional committees 
for additional purposes will undoubtedly be formed from 
among the staffs of the 43 members of the KIAA. 

In any event, the RIAA does exist and is in operation on 
behalf of all its members and the people with whom they 
ao business. It is to be hoped that the future will give the 
RIAA further opportunity to serve all. 


Disk Comic Who Was Hanged 

. that a funny man’s life frequently winds up 
m tragedy has never been better exemplified than in 
unhappy end of George Washington Johnson. 

Johnson, a burly Negro, was born into slavery on a 
Virginia plantation. He went to Washington, D. C., 
where he made a living singing and whistling on the 
in 1 " fi Columbia and Berliner opened studios 

rum * ca Pital, Johnson made thousands of records, 
tw at . a fuue, of his own “Laughing Song” and Sam 
s ‘Whistling Coon.” There were a few other 
important 111 ^ leper *°* re ' ^ut these were the most 

hi? ?il5 son became prosperous and famous, and he and 
lv ruin on a tour wi th a minstrel troupe. Usual- 

rh-inr, 6 ^ ,ti ie most genial of men, his personality 
son w ]\en i? e drank. In a drunken rage, John- 
m»,m-.. ew n h,s wife ou t a window, and was hanged for 
of an Vi his records had either been cut out 

Mnimc. . c ? tal0 *s or remade by other artists. But 
amain',,?. 11 Ijau Shing Song” is still a favorite with 
tation mmstrel shows and, by an odd twist, an imi- 
dian on ’ ? version » which an English come- 

a bitr on s h5T ar d, made for Gramophone, has been 
tieuhi-iv 01 throughout the world. It has been par- 
Indiz* .’,ni lopu ar the Oriental countries such as 
th a t , , m ‘? y have sold over 1,000,000 platters in 
hut of the world alone. 


Clayton’s enthusiasm is shared by many other top 
platter-chatterers who have joined the “45” bandwagon, 
including Martin Block, WNEW, New York; LeRoy Miller 
and Bob Horn, WFIL, Philadelphia; Dave Starling, KFI, 
Los Angeles; Tom Brown, WHK, Cleveland; Ed Stevens. 
WERE, Cleveland; Jay Miltner, WTAM, Cleveland; and 
Jack the Bell Boy, WXYZ, Detroit. 

From the station’s standpoint, the 45 rpm system offers 
substantial savings in money, time, and space. Because 
the 45 rpm disk is only seven inches in diameter, and is 
made in a single standard size for all classifications of 
recorded music, it enables the broadcaster to substantially 
reduce his record storage requirements and standardize 
facilities. More than 150 of the tiny disks can be stored 
in a single foot of space, and lighter, less costly storage 
racks can be used. 

^ To facilitate adoption of 45-rpm facilities by broad- 
casters, RCA Victor provides a special kit of materials 
with which station personnel can quickly and easily con- 
vert any type of 70-C or 70-D transscription turntables 
to play the new records. 

Foreign-language Records 
Find Large Market in l. S. 

By FRANK S. AMARU 

(Manager, International Record Sales, Domestic Dept.) 

The wide-spread popularity of Latin American and Inter- 
national music in this country has opened up an entirely 
new market which, today, is being extensively developed 
to yield additional record sales. It is a unique market, com- 
prised of steady and consistent buyers who regularly keep 
abreast of the new releases. 

There are now many dealers throughout the country 
specializing in the sale of recordings in one or more for- 
eign languages. These are located in sections of the country 
where there is a large population of -one er more -foreign - 
derivations — for example, Polish in New England and the 
middle west, Slovanian in the Cleveland area, and Spanish 
in New York, Miami, California, and the southwest. An 
outstanding example is the J. L. Hudson Co., in Detroit, 
one of the largest department stores in the midwest, which 
for the past three years has carried a complete Interna- 
tional line in stock. 

.Selection of International and Latin American music 
for recording is, as a rule, based upon the popularity of 
the songs in their countries of origin, but sometimes, upon 
the popularity they have achieved among the foreign 
populations in this country. Recently, International music 
has exerted a profound influence on the pop field in this 
country. Such tunes as “Kiss of Fire,” “Auf Weiderseh’n,” 
and “Padam, Padam” originated in the foreign field and 
are also listed in their original versions. 

With well-planned exploitations, based on a careful sur- 
vey and knowledge of the immediate jjaarket, the record 
dealer today can supplement his pop and classical business . 
by building a demand for Latin American, German, Italian, 
French or Polish, recording artists whose colorful songs and 
native dances are finding greater acceptance in this 
country. 

Although International recordings have been “big” since 
the earliest phonographs, they are indisputably at their 
peak today. There are three outstanding groups of buyers 
for this type of disk — the foreign-speaking population, the 
language students, and the many American devotees of 


RECORPS 37 

Country-Westerns No Longer 
‘Poor Relations’ of Disk Biz 

Ry STEPHEN H. SHOLES 

( Country-Western A8tR ) 

The tremendous upsurge in the popularity of country- 
Avestcrn music — especially during the past 10 years — has 
brought about a noticeable increase, not only in the num- 
ber of top country stars on disks, but also in the amount of 
first-class tune material available in this previously spe- 
cialized field. The recent appropriation of a good deal of 
this country music by the neighboring pop field is a 
further indication that country-western music has come 
of age. 

The spread of country music to the city, a movement 
brought on in large part by the population shifts of the 
last war, has created a more general market than ever 
before. The fact that many northerners underwent mili- 
tary training in the south and were more or less forcibly 
exposed to that region’s favorites, and that an almost 
equal number of southerners moved north, is partly re- 
sponsible for the much wider popularity country-western 
music is enjoying today. An equally important factor is 
the rapid growth of country-western deejay shows in all 
parts of the country — plus live radio performances moti- 
vated by the increase in inexpensive, live talent. 

What was once considered a peculiar characteristic of 
the market — the strictly regional appeal of certain artists 
— has almost completely disappeared. There are still per- 
formers whose popularity is fairly limited, but as a rule, 
once a country performer is well established today his 
appeal is universal. The exception, of course, is the new 
artist whose reputation, and sales, are at first limited to his 
home area — attributable to a certain local pride — but once 
he has begun to catch on, his drawing power is just as 
great in one part of the country market as in another. 

j Loyal Fans j 

Furthermore, country fans are the most loyal in the 
platter business, an5 a star’s followers will usually stick 
with him for the duration of his career and longer — 
Jimmie Rodgers has been dead nearly 20 years, but he still 
has threeRCA Victor top-selling albums. Although mate- 
rial is naturally very important, an established star can 
sing almost any type of song and still reach a large major- 
ity of his fans. Hank Snow, for instance, has recorded 
several “sacred” songs, and while these will not have the 
same sale as his country offerings, they will be purchased 
largely by the same people. 

The rocketing of country-western music to the bigtime 
is partly evidenced by the number of tunes originally 
waxed on country lists that have been taken over by pop 
vocalists and gained greater national prominence. Pee 
Wee King’s “Tennessee Waltz” and “Slowpoke” and Eddy 
Arnold's “Anytime,” "I’ll Hold You in My Heart,” and 
“Just a Little Lovin’ ” are cases in point. In the final 
analysis, the pop market has come visiting in the hillbilly 
field because of the vastly improved quality of country- 
western songs. 

Although, in many instances, country and pop platters 
will appeal to the same public, there is a basic difference 
between the two in presentation. Vocally, they are becom- 
ing less and less different — country artists are now using 
echo chamber*, multiple recording, and other gimmicks — 
but there is still a separating void between their philoso- 
phies. Country artists rely on a simple, sincere style, and 
the current widening of their market shows that sincerity 
paj/s off over the record counters. 

There’s a Difference j 

The growth of country music in popularity and the 
limited number of country artists, compared with pop 
artists, have combined to foster a high rate of competition 
among the former. This is most evident among genuine 
country artists, as distinguished from western artists, 
because in recent years the popularity of top country stars 
has shown practically no regional differences. Western 
music, on the other hand, has veered closer and closer to 
the pop in its presentation — the western bands are more 
strictly built along the lines of pop bands — and their 
disks are almost exclusively bought by admireft of pop 
music. 

The growth of a top country star today is, like its paral- 
lel in the pop field, often a matter of hitting the right 
media at the right time. Generally, this means personal 
appearances with radio and TV work, and then, if the 
artist has created enough of a stir, signing him to a 
recording contract and the ensuing job of building him into 
a top-seller. Eddy Arnold is a good example. After playing 
and singing with Pee Wee King’s band for some time, 
Arnold went out on his own, created an impression via 
personals and radio, and was signed by RCA Victor. 

Along with the growth of the market, the country music 
field has seen more stars develop in the past 10 years than 
in earlier decades. One reason is that these singers and 
instrumentalists have changed with the times and kept 
their presentation and appeal in step with popular tastes. 
Their recordings have 'consequently brought them before' 
an increasingly large public, until today they are no 
longer the “poor cousins” of the busihess, but a potent 
musical force in themselves. 


International music. Direct contact is being made with 
this potential market In each city through foreign lan- 
guage newspapers and radio stations which reach a large 
number of these special listeners. Language students in 
local colleges are also approached through ads in their 
campus newspapers, as well as through campus language 
clubs, which have been supplying mailing lists of students 
undergoing instruction. 

Local folk dance schools and clubs provide another 
important contact for the enterprising record dealer. The 
schools will often buy the records for use in their classes, 
and will further advise their pupils that many of the 
records to which they have been dancing are available at 
stores of local dealers. Exploitation of these potential sales 
markets, plus the imaginative use of such dealer aids as 
the record catalogues, window streamers, and colored 
blowups, are helping to develop an entirely new and reli- 
able market for dealers. 

The ever-growing interest in native and regional music 
is responsible for tins constantly expanding market. Today, 
it is in a position of influence never before contemplated, 
and is consequently providing an even greater field for ex- 
pansion of record sales. 


^ sft m&conm 

Engineering Advances In 
Records Over the Years 

By ALBERT PULLEY 

( Chief Recording Engineer) 

In the relatively few years since Edison’s invention of 
the phonograph — and especially since the turn of the cen- 
tury when Emile Berliner’s development of the platter- 
type disk foredoomed the cylinder record — engineering 
advances in disking and disk processing have been so 
numerous as to give the industry one hypo after another. 
Most surprising of all, perhaps, is the fact that the develop- 
ments of the past few years — the advances that have 
brought records to a higher state of perfection than ever 
before — are not nearly so new as most platter buyers 
believe. 

As an example, even the size of the present-day 45 rpm 
platter is practically the same as some originally produced 
in 1887, the earlier disks being only a fraction of an inch 
smaller from rim to hole. Starting from what was practically 

a seven-inch, 78 rpm, record, the Victor Co. jumped to 10- 
inch platters that were made to spin at from 50 to 90 rpm. 
This was, in turn, made possible by the advent of the ad- 
justable, spring-wound phonograph, another major devel- 
opment of about the same period, and one made neces- 
sary by the fast-growing record business. From here it 
was a logical step to the 10 and 12-inch single-faced disks 
in 1903, and eventually to the 10 and 12-inch double-faced 
disks of 1923. All of these records were made accaus- 
tically. 

The first revolution • in the record art, following the ac- 
tual invention of the phonograph and the latter introduc- 
tion of the platter-type record, was the beginning of elec- 
trical disking in 1925. The first of these platters was 
made by Mme. Olga Samaroff, pianist — a pairing of w*>rks 
by Brahms and Mendelssohn. In addition to its vastly 
improved sound, the new electrical recording increased 
the frequency range of records to about 6,500 cycles. 
Electrical reproduction appeared on the scene simultane- 
ously and the revolution was complete. 

Although long-playing disks have completely" altered the 
picture in recent years, they are by no means the first to 
have appeared in the record business. As early as 1903 
Victor introduced a 14-inch platter which was designed 
to spin at about 50 rpm for best results — according to the 
advice printed on the label. These platters, which were 
on the market for some time, provided about 10 to 15 
minutes of music. In 1931, Victor introduced the first 
version of today’s 33 J /3 rpm disk in a line devoted ex- 
clusively to classical repertoire. There was found to be 
insufficient demand for records of this speed at the time, 
however, and the line was therefore abandoned. 

| Significant Strides [ 

Despite this period of experimentation with the long- 
play disk, the history of recording from Eldridge Johnson’s 
Camden machine shop to the late 1940s is almost exclu- 
sively that of the 78 rpm platter, and significant advances 
were made on 78s during the late ’30s. In 19^5 the fre- 
quency range was boosted to 7,500 cycles, by 1938 it had 
been increased to 10,000, and in the early ’40s it was 
boosted as high as 12-to-15,000 cycles. Although the idea 
for the present 45 rpm disk was conceived by RCA Victor 
as early as 1939 and continually developed through 1940, 
no break-through was possible during the war years,. and 
the relatively few records made continued to be brought 
out at 78 rpm. 

Originally, sounds were grooved directly onto wax, and ; 
once cut, they were irrevocable. In contrast, tape-record- 
ing affords the artist great flexibility in improving his 
work. By permitting immediate playback, it allows him 
to evaluate his work instantly and make improvements on 
the spdt. In addition, it permits multiple “takes” for 
choice, with final selection made from whole takes or 
portions of takes. 

Culminating the constant progress down through the 
years, and resulting directly from RCA Victor’s own long- 
range research program, is the company's recently an- 
nounced “New Orthophonic Sound.” Considered to be a 
highFwater-mark in the history of sound on records, the 
New Orthophonic Sound brings to the home performances 
more nearly equal to the original studio performances 
than has been possible heretofore. 

With the achievement of this new sound, a cycle that 
began with Edison’s recording of “Mary Had a Little 
Lamb” in 1877 has been completed. No doubt the future 
holds still- more startling advances, but today’s music lover 
has a medium of reproduction in both phonograph instru- 
ments and records which certainly surpasses the wildest 
imaginings of the past. 

For this reason alone, the place of the last 75 years as 
. an epoch in cultural history would be assured. 


One Disk’s 40,444 Spins 

Present-day juke operators think they’re lucky if 
they get 200 plays out of a platter. They should have 
been around in the happy days when the life of a 
record was longer. 

That was particularly true of the now obsolete 
vertical-cut disks and cylinders. Pathe used to guaran- 
tee a record would play at least 1.000 times without * 
signs of wear. Edison Blue Amberol cylinders were 
played 3,000 times without deterioration, and in labora- 
tory tests Edison Diamond Disks were spun 6,000 
times and were as good as new at the finish. 

But probably the all-time long-play champion was 
a U. S. Everlasting cylinder, “Peter Piper,” a xylo- 
phone solo by the company’s musical director, Albert 
Benzler. This record was placed on a machine in a 
Cleveland penny arcade, stayed there seven months 
and, by automatic count, was played 40,444 times. 
Taken off the juke, it was, according to the Talking 
Machine World, still as good as new. 

Instead of bringing in a nickel at a time, the cylinder 
spun for lc a performance. Even so, it brought the 
happy arcade operator $404.44. Since it cost only 35c, 
he made 115,000% profit! 

Who says the “good old days” weren't the good 
old days? 



Wrr 


Science Improves Old Disks 

It doesn't seem possible that anyone would suggest 
improving on the recorded voice of the immortal Caruso, 
but that’s what happened at RCA Victor a while back, 
and it worked too. 

The phonograph voiqes of Caruso, Scotti, Farrar, Schu- 
mann-Heink and other early-century songbirds were res- 
urrected by a magnetic miracle that made them clearer 
and truer than when recorded. 

The new records comprise the Treasury of Immortal 
Performances. The project started three years ago, di- 
rected .by Albert Pulley, the company’s chief recording 
engineer, in New York. 

Six sound technicians were assigned to use microscopes 
on the old records. They followed each sound groove, 
looking for bumps, dents, and other irregularities. Most 
of these were due to mechanical causes. With sharp in- 
struments, they smoothed all the imperfections they could 
see. 

Next, a sound expert listened to the music played from 
the smoothed records. He marked spots of imperfection 
that the microscopes missed. Records were reexamined 
and smoothed as many as six times. 

After that, the music on the old record was transferred 
to magnetic recording tape, a paper-thin, single strand 
half as wide as a postage stamp. Sound is recorded on 
the tape by magnetism, a process that puts nothing visible 
on the record, and that strings the sound record out in 
a line hundreds of feet long. 

The tape translates the sound directly into electric cur- 
rent, which in turn runs a speaker that converts it into 
sound which is a perfect reproduction of whatever was 
on the record. -This process shows up further faults. 
Some of these are tiny, popping sounds.* 

A pop may take up nearly an inch length of tape. This 
inch is cut out with scissors and the remaining tape ends 
are rejoined. The loss of tape is so small that the music 
is not affected. 

There remain, finally, the faults in singing or in in- 
strumental music that were originally recorded. This 
music, as it comes from the speaker, is a combination of 
many tones or sound frequencies. The speaker can select 
part of these sounds and make them either louder or 
softer, and this change corrects singing and playing faults. 

If the voice lacks clearness, part of the frequencies, 
but not all of them, are made louder. If too shrill, part 

e f re< l uen cies r but again not all of them, are made 
softer. 

When all the faults, have been corrected, the voice of 
the electrical speaker is recorded on a new master record 

? reproduction of the old, but a better record than the 
original. 

HMV Label of Gramophone, Ltd. 
Keyed Growth of Phono Biz 

Recent announcement of RCA Victor’s distribution of 
the His Master's Voice recordings of the British Gramo- 
phone Co, on the new speeds in the U..S. brings a famed 
catalog, formerly only sparsely represented by imports, 
strong onto the American scene. 

The Gram °P hon e Co., Ltd., was founded in England in 
1898 with an Englishman, Trevor Williams, as its first 
president and an American, Barry Owen, as its managing 
director. ° 

Branches were quickly established throughout Europe 
and in the East and its first recording engineer-^-Fred Gais- 
berg, who was born in Washington — was sent on a series 
of recording tours which yielded a rich haul in artists and 
established the reputation of the famous HMV catalog 

Gaisberg’s greatest discovery was Enrico Caruso, whom 
he recorded in Milan in 1901. It is probable that the en- 
gagement of Caruso and the adoption of the dog trademark 
did more than anything else to establish the record indus- 
try on a firm basis, convince music lovers that the gramo- 
phone was more than a toy, and carry the fame of the 
company throughout the world. After Caruso there fol- 
lowed a host of singers scarcely less famous— Melba, Tet- 
razzini, Chaliapin, Tita Ruffo and great instrumentalists 
such as Paderewski and Kubelik. 

The picture of the dog listening to the gramophone was 
painted by a little-known artist, Francis Barraud, in 1899, 
and was offered by him to the Edison Phonograph Co.— 
which politely declined. The Gramophone Co. agreed to 
buy it if he painted out the phonograph and substituted a 
gramophone. Up to that time the company had used a 
trademark which it still owns: The Recording Angel, 
a heavenly figure seated on a disk tracing sound with a 
stylus. The new picture of the dog instantly capture^ the 
public imagination and has remained world-famous ever 
since. Its counterpart is well-known in the Western Hemi- 
sphere as the trademark of Radio Corp. of America and its 
affiliated companies. 

Abortive Hybrid Co, 

Some years after its foundation, the directors of the 
Gramophone Co. decided to add the manufacture of a type- 
writer to its activities and the name of the company was 
actually changed to the Gramophone & Typewriter Co., 
Ltd., but the progress of the gramophone business was so- 
great that the typewriter was abandoned and the name of 
the company reverted to its original form. Nevertheless, 
one of the old typewriters still reposes in the company’s 
museum in England as a memorial of an episode that is 
now forgotten. It is a very cumbersome and complicated 
instrument. „ 

Although the company was established first in England, 
all records were manufactured at Hanover in Germany, 
and the gramophones themselves were imported from 
America. It was not until 1911 that the Gramophone Co. 
opened its factory at Hayes, near London, a plant that has 
now grown to cover more than 70 acres so as to cope with 
the expanding activities of His Master’s Voice. In addi- 
tion to records, the company now makes radio, television, 
domestic appliances and does much electrical engineering 
work. It has recording and manufacturing facilities in 
France, Germany, Scandinavia, Spain, Italy, Turkey, India 
and Australia, and distributors or branches throughout 
the East Hemisphere. 

Fred Gaisberg, the first recording engineer and artists’ 
manager, who had been an assistant of Emile Berliner, 
inventor of the gramophone, came to London in 1898 for 
an intended visit of six weeks, and stayed on until his 
death in London in 1951. In one lifetime, the gramophone 
.had grown from a toy to an Instrument which influences 
the musical life of all nations and retains forever the art 
of the greatest performers. 


Wednesday* October 1, 1959 

1 *■¥ 

Collecting Rare Records 
A Fascinating Rusiness 

Don’t throw out those ancient phonograph records up 
in the attic. They may have a rare artistic and intrinsic 
value. Approximately one in every 5,000 old records sub- 
mitted for # sale to collectors turns out to be a long-l os t 
original. 

There is a collector for almost every kind of record 
Some seek the black label records of Marian Anderson 
recorded 10 years before she became a Red Seal or 
classical artist. Others collect records made by Enrico 
Caruso in France and Italy or complete sets of "Original 
Dixieland Jazz Band.” One collector has 183 records by 
John McCormack, another 118 versions of “Stardust.’’ * 

Many collect records of famous voices such as those of 
the Presidents, comedy monologs, oldtime jazz, Edison 
cylindrical records and even the phonographs which play 
them, or every recording of a particular operatic aria 
There are also collections of laughing, snoring and sneez- 
ing records. Prices generally range from 5c and 10c in 
the rummage marts, to $150 and $200 in the record col- 
lectors’. shops. A Mary Garden platter of the "Card 
Scene” from “Carmen”, recently was sold for $45, and 
the Elena Gerhardt recordings, foi the Hugo Wolff So- 
ciety, for $200. A disk by England’s Sir Charles Santley 
of an aria from “Marriage of Figaro” hit an all-time high 
of $400. 

To the distress of some collectors and the acclaim of 
others, RCA Victor has been currently ransacking its 
vaults of original masters for its “Treasury of Immortal 
Performances,” a reissue of historic recordings by the 
operatic and concert titans of the past. 

The company’s record treasury, for instance, includes 
the first release of a John McCormack recording of the 
“O Konig” aria from "Tristan and Isolde.” The existence 
of this experimental recording has long been known to 
collectors, but it wasn’t until recently that a test pressing 
was discovered hidden away in the Countess Lily Mc- 
Cormack's home in Ireland. Praise by Ernest Newman 
and writer Vincent Sheehan led to its inclusion in the 
new. “Treasury” Series. 

J Jenny Lind’s Whodunit Disk 

The currently most sought-after record is considered to 
be the oft-rumored recording, supposedly made by Jenny 
Lind to preserve her voice for posterity. Second to the 
Lind waxing are the disks said to have been cut by Jean 
DeReszke, but with which he was dissatisfied and which 
he ordered destroyed. Reportedly few copies were saved, 
but they have never appeared on the market. 

The dramatic readings by Sarah Bernhardt, the farewell 
concert by Nellie Melba at Covent Garden, old labels 
such as Zonophone and Fonotipia, and the Lilli Lehman 
recordings also are highly prized. A typical rarity are 
the made-in- Warsaw < Poland) disks made by Battistini, 
the baritone, who never came to America because he was 
in mortal fear of seasickness. Choicest of the Battistini 
recordings are those he made as "Werther,” for which 
opera composer Massenet transposed the key from tenor 
to baritone to accommodate the singer. 

Among the famous collectors with large private collec- 
tions are Eugene G. Grace, president of Bethlehem Steel; 
Alfred Gwynne Vanderbilt, publisher Alfred A. Knopf, 
Clifford Odets, Ludwig Bemelmans, Montgomery Clift, 
Peter Arno, Gregory Peck, Lady Louise Mountbatten, Jo- 
seph Schildkraut, the former Mrs. Anthony Eden and 
one of the largest collections, which numbers 50,000, is 
owned by labor arbitrator Edward F. Addis. 

: ■ ' - — 

Odds and Ends of Phono Curiosa 

Some odds and ends of the phonograph’s first 75 
years: 

Smallest record offered for sale probably was J 
4-inch DuriUm, Jr., playing on one side and sold in 
dime stores in early 1930s for 5c each. Platter was 
semi-flexible and made of same material as the 10-inch 
Hit-of-the-Week, which sold for 15c in 1929-30. For 
several years beginning in 1914 Columbia had the 
single-faced 5Vfc-inch Little Wonder* which fetched a 
dime, and Emerson had a rival record, same size and 
price. 

Lowest price at which double-faced 10-inch record 
ever sold probably was 10c. Madison records, made 
by Grey Gull, were available for this price in Wool- 
worth five-and-dimes around 1936. 

Highest priced single disks sold in regular way, 
and not as collectors’ items, probably were several 
Victor Red Seal versions of “Lucia Sextet” at $7 each. 
(This excludes the latter-day Long Players.) 

The 10-inch record with shortest playing time: 
Nation’s Forum platter, “From^the -Battlefields, of. 
France,” made in 1918 by General John J. Pershing. 
Running time: 28 seconds. Platter autographed by 
the General. 

Most expensive phonograph offered as part of com- 
pany’s regular line: French C ' + hic model New Edison 
cataloged in 1920 by Thomr • A. Edison, Inc. Judging 
by picture, it resembled a three-story house with 
hand-carved, exterior decorations, and the asking price 
was $6,000. It was asked but not obtained. Oldtimers 
at Edison Lab say only one model was made. Never 
sold, when Edison went out of the pb^pno biz in ’29, 
the impressive monster was presented to Yale U. to 
get it out of the way. 

Cheapest phonos: Hand-cranked models with card- 
board herns, harking back in design to early Berliner 
Gramophone, which mail order firms, domiciled in 
Philadelphia, offered in 1916 for as low as 45c. Be- 
cause of direct connection from reproducer to horn 
they sounded better than some cabinet models of 
period. 

Largest records: 20-inch hill-and-daie>disks. made in 
England, around 1906, by Neophone and Pathe com- 
panies. Platters had extremely coarse grooves to 
bring out great volume, and playing time was only 
about that of ordinary 10-inch disks. In 1914 a 
British firm produced Marathon hill-and-dale (vertical- 
cut) 12-inch platters that ran more than 8 minutes to 
a side — the first real “long players.” 



PSSSSBff 


«r^lnes(lay» October 1» 195^2 




39 


« 


1877-1952 


THE STORY OF 

HOME ENTERTAINMENT 


from the beginning of recorded sound 
to the latest RCA VICTOR achievements— 
a story of continuous quality leadership 
. in phonograph, radio and television 




1877 The first talking machine, invented by Thomas 
Edison, with sound waves crudely embossed on 
a tinfoil-covered cylinder. 


.i 

i 

4 


I 


« 


3 





1888 The first flat record, invented by Emile Ber- 
liner, led the trend from cylinder recording to 
disc recording. 



o 



1898 “His Master’s Voice.” Eldridge Johnson’s talk- 
ing machine, patented in 1898, is familiar today 
in one of the most famous trade-mark symbols 
of the world. 



1902 Caruso launched an era. With his first record-, 
ings began the' procession of famous stars on 
the Victor label— a continuous half-century of 
artistic leadership. 


1 906 First console instrument. For the first time, 
the cumbersome horn was enclosed in a cabinet 
phonograph— a momentous forward step by the 
Victor Company. 


1910 to 1926. The famous early “Victrola” with its 
familiar, classic shape became the musical in- 
strument of the world for nearly two decades. 






4 



rca Victor 

WORID I . K A D F. R IN RADIO 

FIRST IN RF(ORDH> MUSIC 
FIRST IN Tl 1 F\ I SION 


IMKS&) 



40 


Pfti&iWfi 


Wednesday, Ocioku 1 , I952 






1921 Toscaninis first record appeared the year of 
Caruso’s death, for an unbroken fifty years of 
Victor recording by the two towering names of 
our time. 


1925 Victor Orthophonic Sound replaced the acous- 
tic horn for the far more sensitive electric micro- 
phone, made it possible to record the full voice 
of the symphony orchestra. 


1926 RCA introduced the all-electric radio, out- 

moding the troublesome battery earphone sets, 
and heralding far finer sets to come. 



rv 


1928 TV W2XBS licensed to RCA, an im- 

portant early milestone in RCA Victor’s quarter- 
century of pioneering and developing of all- 
electronic television. 



W2XBS 

>ix^ 


/ 



1939 RCA Victor TV at N.Y. World’s Fair brought 

RCA Victor television progress to the public 
view, and the first few thousand sets were sold 
for home use. 

1946 First mass-produced TV sets released by RCA 
Victor. $50,000,000 in RCA Victor research had 
made television a practical household reality. 



1949 45 rpm system introduced by RCA Victpr 

First record and automatic changer basically 
designed for each other. New convenience, econ- 
omy and enjoyment. 


* 




1951 RCA Victor ‘‘Super Sets” with “Picture 

Power” brought new clarity and brilliance to 
difficult reception areas, extended television to 
thousands more homes. 

1 95 2 RCA Victor introduces “Extended Play 45V* 
bringing more music for less money by doubling 
the playing time of popular and classical 45 
rpm records. 


1952 New “Victrola” 3-speed players to play dll 
records at their finest, with all the advantages 
of “45”— the modern way to play records,. 


1 952 RCA Victor “Magic Monitor” Television Cir- 
cuits. Newest circuit system monitors picture 
quality automatically in RCA Victor— world’s 
most wanted television. 




/ 




nr^nt-nda T. October 1, 1952 


M&tmff 


I3U.W 



a 




The talking machine 


was just a curiosity 


1 



until he heard 
“His Master’s Voice 


99 


" Mary had a little lamb, ” barely understandable, was 

the first sound of the phonograph seventy-five years 

* « 

ago. With its sound track crudely embossed on a metal- 
foil cylinder, Edison's invention remained a scientific 
novelty for ten years. 

It then became a side-show novelty, when Chichester 
Bell and Charles S. Tainter thought of cutting grooves 
in a wax cylinder. This gave more lifelike sound, and 
visionaries saw big things ahead for the marvelous in- 



rca Victor 

lli I \ M i K. K IS R \ I > I n 
1 ! R S I IS K!l nKIHIi VII 

H N s I is I M I \ I ' I < is 





4 % 



PTSStmr 


Wednesday, October 1 , X952 




vention— it would someday be possible to make a talking 
doll! Meanwhile the phonograph made money as a 
nickelodeon: you put in a nickel* attached a stethoscope 
to your ears* and heard “My Celebrated Liver Cure” 
and “Down Went McGinty to the Bottom of the Sea,” 
Your delighted expression was the advertising. 

As the wax cylinder revolved, a mechanism pushed 
the needle along. But if the grooves spiralled on a flat 
disc the needle could track by itself, more accurately. 
Better and bigger sound, too, if the needle vibrated 
from side to side instead of upland down. These two 
discoveries of Emile Berliner started the modern phono- 
graph on its way. 


While prospective investors clamored for their talk- 
ing doll, two big hurdles still faced the phonograph: a 
motor, and a way to duplicate records. 

No artist of any standing would tolerate the hours 
and hours it took — making a few records at a time, 
• bellowing his performance over and over into a battery 



9 


\ 



of horns. And the search for a really steady motor got 
nowhere until chance brought an intelligent young 
machinist from Camden, New Jersey, into the picture. 
Eldridge Johnson gave the phonograph its motor, and 
himself became the driving force that transformed the 
novelty machine into the familiar “Victrola.” 

To secure every possible improvement for his prod- 
uct, Johnson acquired the Berliner patent, and obtained 
rights to a process of cutting the original master in wax. 
This solved the duplicating problem by permitting 
copies to be stamped from the electroplated wax 
master record. 


In 1900 Johnson formed his own company. A year 
later it became the Victor Talking Machine Company. 

He foresaw the challenges of the future, and turned 
his attention to quality of performance. In March of 1 
1902, Enrico Caruso made his first recording for “His | 
Master's Voice." The phonograph was ready to sweep 
the world as a dramatic new form of home entertain- 1 
ment. There would be no talking doll. 



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1898 — THE ELDRIDGE JOHNSON 
(“His Master’s Voice”) 













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Wednesday, October 1 9 1952 

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1 


How Nipper became 
the most famous dog in the world 

. . . symbol of the greatest music 
. . . mascot of the greatest artists 







He was a real dog. His name was really Nipper. He 
belonged to a London artist named Francis Barraud. 
One day, Barraud caught sight of Nipper listening to a 
phonograph and was inspired to paint what he saw. He 
called the picture “His Master's Voice.” 

When the artist showed his painting to The Gramo- 
phone Company of England, whom Johnson supplied 
with motors and parts, they bought all rights and sent 
Mr. Barraud back to the studip to paint in the latest 
version of the machine. In America, Eldridge Johnson 
instantly recognized the value of the picture and the 
slogan. The following year, when he formed his own 
company, Johnson made arrangements with the Gramo- 
phone Company to use the trade mark for his products. 


Coupled with the young company's vigorous adver- 
tising policy, “His Master’s Voice” became known 
everywhere. It helped give the Victor 






“His Master’s Voice” 


Nipper worked hard and faithfully for his new masters. 
Printed reproductions appeared everywhere. Demands 
for painted copies put Barraud to work for the rest of 
his life trying to satisfy them. For over fifty years “His 
Master's Voice" has given instant identity to the Victor 
label and Victor instruments as a symbol of quality 
and leadership in the field of home entertainment. 

It is doubtful if any trade mark in history has so 
successfully captured the imagination of so many 
people, or if any product has ever found so simple a 
device to say so much. 



46 


PfiftlETY 


Wednesday* October 1, 1952 



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At the turn of the century, the forceful leadership of 
Eldridge Johnson transformed the infant phonograph 


From Caruso’s first 
recording in 1902 


industry almost overnight. Courageously, decisively, 
the new Victor Company moved ahead from its modest 
beginnings, accomplishing more in months than had 
been achieved in years. 

The revolutionary process of stamping duplicate rec- 
ords from electroplated master-discs was further devel- 
oped, record quality was dramatically improved, and a 
new repertoire of recorded performances was built up — 
all in an incredibly short space of time. 

As early as March 1902 the stage was set for the most 
significant recording event of all— the event that was to 
transform the phonograph from an inspired toy to a 
musical instrument of commanding greatness. 

Enrico Caruso was twenty-eight, his soaring reputa- 
tion in its second year, when equipment was set up to 
make the first “His Master’s Voice” recordings in Italy 
using the new Victor Master-Disc method. Excitement 
and congestion at La Scala Opera House were so gr6at 
that the recording staff became involved in a challenge \ 

o I 

to a duel when they first tried to hear Caruso. Some 
days later the tenor breezed into the studio and recorded 

ten arias with “not one stecca , blemish or huskiness.” 

© 

All ten were processed without one failure. All ten were 
issued. When “E lucevan le stelle” was played for the 
directors 6f the Metropolitan Opera, they immediately 
cabled Caruso a contract. The association of Victor and 
the great artists was launched. 

Just a year later the list was already impressive, in- 
cluding Calve, Kubelik, Scotti, Plancon, Lucia, Sousa. 

— 

As the magic name of Caruso removed all barriers \ 

between the great artists and the recording studio, it j 



became an added mark of distinction for every artist 
who became associated with the Victor label. And for 
thousands of musically minded Americans, the shadowy 
figures of the opera stage suddenly became a warm, 
living reality. 

the great names 

have been VICTOR names 


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In 1903, in the Saturday 

Post, the first double-page advertisement in 
the- history of national magazines was placed by the 
Victor Company. Dramatic evidence of an aggressive 
and confident young company striding ahead of the 
great-business organizations of its day . . -.-and showing 
how soon and how rapidly the great artists flocked to 
the Victor labfel. 



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The early years of the century were auspicious years for 
the new partnership of- music and records. A Golden 
Age of opera was .reaching its magnificent climax in 
the first decade of the century, when the phonograph 
. record appeared like a magic carpet to spread encores 
throughout the world. 

The glitter of the stars drew much of their luster from 
the enormous popularity of Victor recordings. Singers 
flocked to the Victor label, as a symbol of the highest 
artistic stature. In turn, their great reputations helped 
carry the Victor name to pre-eminence. 

Today, they live again! From priceless master discs, 
RCA Victor has re-recorded an impressive collection of 
the early masterpieces, with new orchestral accompani- 
ment and brilliant new quality of sound. Caruso, 
Tetrazzini, Schumann-Heink again sing their finest 
performances. Now, in company with other opera and 
instrumental virtuosos of their day, in RCA Victor's 
“Treasury of Immortal Perform ances”on the new speeds. 








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of our century 

on RCAVlCTOR records 


It was a far cry from the comic songs and recitations 
of the first phonographs to the avalanche of stars 
on the early Victor label. The great names of 
vaudeville and musical comedy soon became Victor 
names, and the infectious personality of Sir Harry 
Lauder made him a member of almost every 
American family before the First World War. 

A few months after the word “Jazz” was invented 
in Chicago for the Original Dixieland Band, they 
made their famous first Victor Record of '‘Livery 
Stable Blues.” Today, every style of popular music 
played by the jazz greats at their best enjoys 
undying popularity on RCA Victor's “Treasury” 
and other recent RCA Victor re-issues: Louis 
Armstrong, Bunny Berigan, Tommy Dorsey, Duke 
Ellington, Benny Goodman, Coleman Hawkins, 
Earl Hines, Glenn Miller, Jelly Roll Morton, 

Artie Shaw, Fats Waller, and many others in- 
cluding almost the entire Jazz Hall of Fame. M 


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and the 
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entertainers 








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WeduewUy, October 1952 


To hear only the music of these two would be reason 
enough for owning a phonograph! 

A continuous half-century of 

recording for RCAVlCTOR 

To have been entrusted with the 
music which filled their hearts, to 
have been the means of present- 
ing their priceless legacies to all 
who wished to hear, RCA Victor 
treasures among its highest 
t privileges and achievements. 


..... 


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With the deepest sincerity 
and with every technical 
and artistic skill they 
possessed, RCA Victor 
recording engineers have 
for fifty years devoted 

* 

themselves to the heroic 
challenge of reproducing 
the immortal nsiraorm*- 
ances oiG^itxxso and 
Toscanin^^s faithfully as 
it ha^^^en humanly and 
scientifically possible 
to do. 

This dedication of fifty 

years can be measured by 

a standard of excellence 

continuously pushed 

higher and higher, 'and 

reflected iii every RCA 

Victor recording. It is 

readily discernible today 

in the “Triple Difference” 

which sets every RCA Victor recording apart: The 

world’s greatest artists, the world’s truest sound, the 

world’s finest quality. 

* * 

In 1921, the last year of Caruso’s life, appeared Arturo 
Toscanini’s first Victor recording. This year marks an 


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Wednesday, October 1, I9S2 


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unbroken half century of Victor recording by these tow- w 

ering giants of our time. 

In more than thirty years of recording for Victor,, 
Toscanini has immortalized nearly one hundred of 
greatest and best-loved interpretations. jr 

This month, for the first time on recorder 

by the two wb*ose names 
tower aboY*e all 


comes a great Tp^scanini performance for 
which his pj^^ration literally began fifty 
yearsi^P when Caruso was recording his 




arias, 


This month, “after 50 years of study 

ing and performing it,” Toscanini's 

great recording of Beethoven's final 

* 

symphony comes as a fitting marker 
for the first half century of great re- 
cording, and as a supreme showcase 
for another great RCA Victor 
achievement of this anniversary 
year: New Orthopnonic Sound. 

Culmination of seventy-five years 
of the history of recording. New Orthophonic 
Sound enriches listening in four distinct w&ys: 

1. Complete frequency range— full richness of tone 
in both the extreme lows and extreme highs. 

2. No loss of high frequency response from the 
outside to the inside of the record— full bril 
liance from beginning to end, 

3. Ideal dynamic range suitable 
for home listening — lifelike and 
natural* without exaggerated 
effects. 4, Improved quiet sur- 
face, assured by a new anti-static 
compound and 12 separate 
audio-visual inspections. 

This great Toscanini perform- 
ance stands as a superb example of the “Triple 
Difference” in RCA .Victor Records: the world's 
greatest artists, the world's truest sound, the 
world's finest quality.' 







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52 




Wednesday, October 1 ? X952 



At the moment the first crude phonograph came into 
his little shop in Camden, Eldridge Johnson said “the 
talking machine fever broke out all over me.” From 
then it became his obsession to improve, and then to 
improve the improvement. “Our greatest secret proc- 

Caruso sang over 
nine million encores for 


the early “VlCTROLA 


99 


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1910-1916— The classic “Victrola" 



ess,” he said, “is this: we seek 
to improve everything we do 
every day.” This is the theme 
which runs through the story 
of the “Victrola” phonograph, 
the history of recording, and 
on into the electronic fields of 
radio and television . . . cul- 
minating today in the great 
David Sarnoff Research Center 
of RCA at Princeton, N. J. 

With his first model in the 
stores, Eldridge Johnson pro- 
ceeded to make a better one. 
Soon the original “trade mark” 
model, with its horn proceeding 
directly from the needle, was 
outdated. In 1902 the horn re- 
versed its direction and was attached 
to the end of a rigid tone arm. The 
goose neck and tapered tone arm, the follow- 
ing year, were among the most important 
developments in the company's history. 
While it wasn't known at the 
time, the horn's gradual taper 


1901 The “trade mark” model 




1906— The “Morning Glory** 



Wednesday, October 1> 1958 


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was a forerunner of the Orthophonic idea fully devel- 
oped in 1925. With the “Morning Glory” shape in 
1906, the horn type machine reached a level of perform- 
ance miraculous in its day. The same year, the horn was 
first enclosed in a console, and from 1910 to 1926 the 
familiar “Victrola” — its simple, classic shape almost a 
trademark in itself— was the musical instrument of the 
world. Over a million of the famous Model XI were sold. 

In the ’twenties, a new sound 


In the ’twenties came a new look and a new sound. 
“Orthophonic” became a magic word in 1925. An ex- 
ponential horn produced sounds of a clarity, range and 
volume which made listening to the new electrically 
recorded discs an exciting experience. In the recording 
studio, microphones replaced the old acoustic horn. 
Drums and other bass instruments could now be heard 
clearly for the first time. Now, at last, the entire sym- 
phony could speak in its full voice. 

The “Electrola” added a further dimension to the 
playing of the new records, bringing electrical amplifica- 
tion to the phonograph. In 1927, the first automatic 
record changer. 

Recorded sound grew more lifelike and 
more dramatic, until today RCA Victor’s 
“New Orthophonic Sound” brings the most 
lifelike music ever played on a phonograph. 

In 1949 appeared the. first record and 
automatic changer basically designed for 
each other: the 45 rpm system. At once, 
record playing was more fun, cost less, 
sounded better. Today, a new “Victrola” 

3-speed phonograph offers the ultimate in ease 
of operation and enjoyment of all records. 

Meanwhile, in the ’twenties, had come 
the new marvel of music from the air . . . 



1925— The Orthophonic 



1925 — Radio-Phonog raph Combination 



TMKS$ 


*‘1U$ MASTER’S VOICE” 



PSsneft 


Wednesday, 6ctoW 1, 1952 


Automatic record changers 'were pioneered by RCA 
Victor in 1927, Early models were complicated and cum- 
bersome, with posts and clamps often requiring adjust- 


With the new speeds . . . more fun, more value, 

* 

and more people playing more records! 



ment. Subsequent designs were improvements, but still 
lacked the needed simplicity and reliability. 

In 1939 came a fresh new start resulting, ten years 
later, in the first record and record changer ever 
designed for each other! So simple, with a big 
hole in the record and the entire changing 
mechanism inside the spindle. Now, automatic 
changing cost little or no more than a manual 
changer. And with the little “45” records, 
De Luxe vinyl plastic records cost no more 
than shellac “78V’ . # # non-breakab'le, and 
providing up to ten times longer playing life. 


lip 


“VlCTROLA” 45 
RECORD PLAYER 


At last, needle noise was virtually eliminated, with play 
after play showing no sign of record wear. • 

It simplified record playing, made it so much more 
fun, that “45” records are now selling over five million 
a month. For many homes, “45” is the whole answer 
to recorded music in a compact nutshell. 

Now, for enjoyment of all speeds, comes the miracu- 
lous new changer built around “45”! Time- and 
trouble-saving innovations to play all speeds 


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THE CENTER IS THE SECRET ! 


easier and features the modern way to play records 
with a simple, slip-on spindle. The center’s the secret! 

Now, on one compact unit any record on the shelf, 
any record in the store, can be played automatically 
. . . the easiest way . 

The new three-speed attachment can play through any 
radio, phonograph or television set. Also a compact. 

First all-speed player to play all 
records automatically ... at their best! 



complete 3-speed phonograph in a table model and 
a portable . . . and a wonderfully trim combination 

l 

unit with AM radio. 

Another great milestone of the phonograph’s SimpU lb)lbilizer 
seventy-fifth year . , , a great RCA Victor achieve- ' 
ment to make record playing and record buying more ** ^op- 
attractive than ever. 


New slip-on “45” spin- 
dle. Merely slip it on, press, 
and it*s looked in place to 
play a stack of ”45V’. 


Simple changeover to 
3&£ rpm and 78 rpm 
records. Plays up to ten 
12-inch or twelve 10-inch 
records — plays intermixed 
sizes in the same speed. 


Changes up to fourteen 
7-lnch“45” records from 
ths center, the modera 
way! 


“VICTROLA 3-SPEED 
RECORD PLAYER 


4 ‘ Floating* ’ motorboard 
eliminates stylus jarring 
and noise. 




Twin stylus pickup. 
Long-lasting, twin-point 
pickup has fiipover lever 
for 78 rpm or 33 H / 45 rpm 
record playing. 


One convenient control 
for on-off and reject also 
allows repeat playing or 
skipping portions. 


Finger tipBpeed control . 
Choose the 45, 33 H or 
78 rpm speed at the touch 
of a finger. 



rca Victor 

U ■ W : ! I ! I M i I II IN W \ : 1 1 ■ ■ 

M r 1 ' I I '• D | ( ( i K I 1 t 1 i ’ M I (. 

H k > l I i i i r ■ l ' i 1 ■ ' 



TMKS® 


«‘HI5 MASTER’S VOICE” 




Gl*dy* Swarthout 




Marian Anderson Jussi Bjoerling Alexander Brallowsky Ania Dorfmann Mischa Elman Arthur Fiedler 




Jos6 Iturbl William Kapell Wanda Landowska 


Today, as for the past fifty years, 
the world’s greatest artists 

are on RCA Victor records 




Yehudi Menuhin 




Fierro Monteux Charles Munch Patrice Munsel Paganini Quartet Jan Peerce Gregor Platigorsky 



Fritz Reiner Artur Rubinstein Robert Shaw Rise Stevens Leopold Stokowski Set Svanholm 



Ferruccio Tagliavlni Arturo Toscanini Helen Traubel Margaret Truman Leonard Warren Whlttemore Sc Lowe 





Wcduenday, October 1, 1952 








































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PSSiieff 


Wednesday, October I, 1952 


Still another new step forward, on the seventy-fifth 
birthday of the phonograph! A new “45” record with 
double the playing time! Down again comes the cost of 
great music by the greatest artists. 

The new “Extended Play 45” Red Seal one-record 
album — same size and same speed as standard 45 s 
sells for $1.50, plays four standard selections or two 
longer selections . .. . up to 8 minutes a side, up to 16 


Now, great RCA Victor performances 

* 

at a new low cost ... on the new 
“Extended Play 45” records! 


V 



minutes a record. Just about half 
the price of the same music on 
“78”. And with it, the wonderful 
convenience and compactness of 
the “45” record . . . the luxury of 
the simplest, easiest system ever 
devised for automatic record changing! 

Plus the wonderful tone and brilliance of the “45” 
record on non-breakable De Luxe vinyl plastic which 
gives sojmany more plays without a signof record wear. 

Divide the price of the record by four . . * and just 
imagine buying a great aria by a great artist 
for only 38^! In the early Victor days, the 
equivalent aria cost a dollar, a dollar and a half, 
or even five dollars. Today, everyone can afford 
to own and enjoy great music at home. 

No need to be content with any but the finest 
performance • » • the finest artist. How much 
more pleasure in a Chopin Nocturne when played 
by Brailowsky or Horowitz or Rubinstein . * * in 
Schubert’s Ave Maria when sung by Marian Anderson ! 

This month’s first listing of classical selections on 
Extended Play 45” contains fifty records with well 
over a hundred titles. . . all by artists everyone 
knows and loves. A superb selection to choose 


a 

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Wednesday, October 1, 1952 


PSs&IETY 


STEVENS 


from, featuring great names in 
music which read like music’s 
“Hall of Fame”! 

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Albanese, Anderson, 










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Btailowsky, Pi Stefano, Elman, 

Fiedler, First Piano Quartet, Heifetz, v 

Horowitz, Iturbi, Koussevitzky, Melton, 

J 'V 

Merrill, Milstein, Monteux, Munsef, Peerce, s , 

Pinza, Reiner, Romberg, Rubinstein, Shaw ’Chorale, 
Stevens, Stokowski, Swarthout, Traubel, 

Toscanini, Warren, Whittemofe and Lowe. 

CARMEN Habanera and 
Seguidilla, Entr’acte and 
Toreador Song-all for *1.50 


Here, at an exciting new low price, is music in a 
class by itself, set apart by RCA Victor’s M 
Triple Difference: the world’s greatest gjH 
artists, the world’s truest sound, the 
world’s finest quality. S 

With the new RCA Victor 3-speed j 

player, music lovers can enjoy the 
convenience of playing all records 
at their best, and enjoy their new 


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REINER 








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“Extended Play 45” records as 
they were designed to be played. 


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Wednesday, October 1, 1952 






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More reason than ever for owning a “45”! ^ 

A tantalizing batch of new “buys” no pop fan .could 
resist . . , at a new low price so appetizing the new 
platters will really sizzle. 

. and up pops the 

Pop Album on “45 EP”! 

& 

N The new “Extended Play 45” one-record albums, 
J ; give double the music * play two standard 

JjL selections on a side. You can pile up a concert of 

28 tunes to play at one touch of a button with-, 
out changing a record! 

And look at the new low prices! 32.80 for eight 
’"77 tunes, $1.40 for four. 

;/ Here’s just a sample of what’s coming up: Great 
f new albums like Eddie Fisher’s “I’m in the Mood 
for Love” . «• . Frankie Carle’s “For Me and My 

Gal” . . . Spike Jones’ “Bottoms Up” • • * “Caravan” 
by Vaughn Monroe, “Story of a Piano” with Andre 
Previn and A! Goodman’s “Rio-Rita and Connecticut 
Yankee.” Each with 8 tunes on 2 records for $2.80. 

And another great package of hits of all time, in the 
new 8 -tune albums: a new Glenn Miller Concert (Vol- 
ume III), a whole series of 60 greatest hits of the past 
twenty years in albums called “This is Artie Shaw,” 





Wednc day* October I, 1952 




“This is Benny Goodman,” “This is Tommy Dorsey.” 
Hal Kemp, Duke Ellington, Ray Noble, Oscar Peterson 
are also in the line-up, bringing their best. 

8 full selections on just 
2 records only $ 2.80 

On the sensational new 4-tune single come 1 100 great 
hits to start off the series. For example: “Theme Songs” 
of Shaw, Goodman, Ellington and Barnett played by 
the masters, “Dance Band Hits” played by Dorsey, 
Clinton, Miller, Weems, “Naughty Marietta” with 4 
selections under A1 Goodman. - 

A terrific menu to place before those healthy, growing 
“45” appetites! 

4 full selections on just 
1 record only *1.40 

Announcement of the exciting, new one-record* and 
two-record pop albums on “45 Extended Play” adds 
still another big landmark to celebrate on the 75th 
birthday of the phonograph. The hits in a handy new 
form -at a dandy new cost to make popular records 
more popular than ever! From now on, all new RCA 
Victor hit albums will be on money-saving “45 EP” ! And 
by early ’53, all pop albums in the “Music America 
Loves Best” catalog will also be available on “45 EP”! 


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64 . 


PSis&iEfi 


Wednesday, October 1, 1953 



Meanwhile, 



In 1916, David Sarnoff, then Asst.. Traffic Manager of 
the Marconi Wireless Telegraph Co. of America, out- 
lined a plan ... “I have in mind a plan which would 
make radio a household utility in the same sense as a 
piano or phonograph. The receiver can be designed in 
the form of a simple radio music box and arranged for 
several different wave lengths, changeable with - the 
throwing of a single switch of pressing a single button...” 


two great companies became one 


The plan did materialize! The Radio Corporation of 
America, created in 1919 to provide an all-American com- 
munications company, spearheaded the rapid realization 
of that plan. 

- To the world of home entertainment opened the inira- 
culous .new possibilities of electronics, when the Radio 
Corporation of America and the Victor Company joined. 

The stars that America had welcomed into their 
homes on records were greeted as old friends on radio . . . 
first heard through earphones on the old crystal set or 
the complicated battery sets that almost required a 
home engineer to operate. 

In 1924 the first superheterodyne models and in. 1926 
the all-electric radio utilizing the light socket as a source 
of current brought General SarnofFs vision of a radio 
operated by a single switch or button, much closer to 
reality. 

But the dials on the Bakelite panel were still formid- 
able. The voice of the horn speaker was still strident, 
punctuated with squeals of static. The men in the RCA 


a 1926 Superheterodyne 



1938— Anniversary model with “Magic Brain** 


Wednesday, October 1, 1952 


P'^RIEtTT 


65 



laboratories explored deeper, steadily prying the secrets 
of better communications from the stubborn electron. 
With the cone speaker, sound became 
smoother. One by one the maze of 
controls disappeared behind the 
panel. Year by year, sets cost 
less . . . worked far better. 


and made electrons sing 



In 1935 the finest radio-phonograph cost $600.00. By 
1940, enjoyment and value redoubled ... in the popular 
Anniversary model for $195.00. It had the “Magic 
Brain” reception, a roll-out record changer, six push- 
-buttons, a built-in antenna. 

In ’46 came the magnificent Crestwood combination 
with the “Golden Throat” tone system — finest in the 
industry. 

By 1950, the consumer trend was toward compact, 
mobile sets that could be carried from room to room. 

One of RCA Victor’s leaders in that trend was' the 

** , 

powerful Livingston AM/FM receiver with’ unsurpassed 
performance compactly designed. 

Today RCA Victor miracles continue . . . new sets 
turn on to wake you up, shut off after lulling you to 
sleep, even start your morning coffee. Today’s remark- 
able Super “Personal” portable radio plays ten times 
longer than any previous portables of its size — without 
changing batteries. 

Meanwhile, the outstanding success of one dream had 
merged with the challenge of another.. .as sight blended 
with sound in the modern miracle of television. 








66 


PKiilETr 


Wednesday, October X, 1952 





In the ’30s, 

a f 




The World' 

Indirect im«ge model 



1946 

First mass-produced TV set 


Early RCA activities in radio communications opened 
many new doors. Among the most intriguing was the 
one marked “Television.” 

Into the creation of the kind of television now en- 


perfected the kinescope 

joyed by millions of Americans went perhaps the great- 
est concentration of scientific effort that the world has 
ever seen expended on a single idea — and it was the 

destiny of RCA to lead in that effort. 

As early as 1923, Brig. General David Sarnoff, now 
Chairman of the Board of RCA, recognized the possi- 
bilities: “I believe that television, which is the technical 

r 

name for seeing as well as hearing by radio, will come 
to pass in due course It may be that every broad- 

cast receiver in the future will also be equipped with 
a television adjunct by which the instrument will 
make it possible at home to see what is going on at 
the broadcast station. 




Li* 1928, television station W2XBS was licensed to 
RCA. Several years before. Dr. V. K. Zworykin, now 

0 

Vice President and Technical Director of RCA Labora- 
tories Division, had filed his original patent application 
for the iconoscope, “eye” of the TV camera. In 1929 
he demonstrated the kinescope, or receiver picture- 
tube. Both were developed in the thirties, and for the 
first time the skittish electron was made to perform 
effectively in the new visual medium. With mechanical 
scanning eliminated, all-electronic television became a 
practical possibility. 

By 1939 television was ready for public inspection. 
At the New York World’s Fair in that year RCA Victor 
showed a set featuring a mirror-reflected picture, and 
a few thousand of this series were sold. The war years 
held up television for the consumer, but RCA's televi- 
sion research continued to 
advance, directed to the 
latest electronic equipment 
for the military* 


. . .S7W*v-. 








Ij 


:: i: 

/ r 




1949 

The *'Ey« Witness'* model 


195 ® 

The Fairfield 17-inch 







Wednesday, October ' 1, 1952 


PfimErr 


67 


In 1946, immediately after releasing the first 
mass-produced TV set, RCA Victor made a 
bold move. Frank M. Folsom, now president 
of RCA y realized that the television indus- 

and made electrons dance 

« 

try as a whole would benefit from an equal 
start , in the competitive race. He invited 
RCA Victor’s competitors to a meeting and 
turned, over to them complete blueprints of the televi- 

•V 

sion. receivers RCA was building. The visiting manu- 
facturers were given an extensive tour of the RCA Victor 
television factories and told they were at liberty to use 
the information in any way they wished. 

► 

That television today is a healthy, vigorous indus- 
try can be credited in great part to RCA’s foresight on 
that occasion in 1946. 

By 1949, RCA pioneering in mass production of 
kinescopes and receivers had produced the popular 
“Eye Witness” model selling just under $200. With the 
millionth set, the following year, RCA Victor television 
was “million-proof.” 

In 1951 came the RCA Victor “Super Set,” with 
Picture Power.” Even in television’s fringe areas. 
Picture Power” brought a sharp, clear image. And 
finally in 1952, the “Magic Monitor” circuit system: a 
complex new circuit of uncanny ability which 
performs like a monitoring engineer right inside 
the" set. This wonder-working circuit system is at 
the heart of today’s new Sunderland— a superb 3- 
way instrument with 21-inch television Deluxe 
with “Victrola” ,3-speed 
record changer, and with 
powerful AM/FM radio 
... a fitting RCA Victor 
culmination in all fields 
of phonograph, radio, 
and television. 


’!•>>> 

'•iw.vXvl'x'lvIvli 



*:*x*x*>:*a 


, ..vllllll® 


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A new concept of service. Never before 
had a television manufacturer undertaken 
such an extensive responsibility to its cus- 
tomers. The RCA Service Company set up 
the only nation-wide factory service organiza- 
tion ... to bring the maintenance skill of 
factory-trained experts within the reach of 
every RCA Victor television owner. Another 
“first” by the Radio Corporation of America. 


1952 

The Sunderland — 

Deluxe TV with "Magic Monitor** 


1951 

The 21-inch Lambert “Super Set** 



“MIS MASTER’S VOICE* 











Wednesday* October 1, 1952 


PSSSa&rf 





TELEVISION 

and 

RADIO SHOWS 


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starting Oct. 3 


Pi 



rca Victor show 

starring 

DENNIS DAY 

NBC-TV 

8-8:30 E M. FRIDAY 









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life 





































Octqter 1, 1952 


KbRlETr 


71 


rga Victor division 


.Air Cond itioners 
Antenna Systems 
Antenaptex 

Aviatidn Radio Equipment 
Beverage Inspection Machines 
Broadcast (AM and FM) 

Transmitter and Station Equipment 
Communications Equipment 
Custom Recordings 
Direction Finders 
Electron Microscopes 
Electron Tubes— Receiving, Power, 
Cathode-Ray and Special Types 
Electronic Components and Service 
Parts 

Electronic Fire Control 
Film, Disc and Magnetic Recording 
Equipment 

High-frequency Heating Equipment 
Industrial Electronic Products 
Inter-Communication Equipment 
Microphones 
Microwave Equipment 
Mobile Radio Communication 
Equipment 


Motion Picture Projectois and 
Theatre Equipment 
Phonograph Records 
Public Address and Industrial 
Sound System Equipment 
Radio Batteries 
Radio Receivers 
Sonar Apparatus 
Sound-Powered Telephones 
16mm Sound Film Projectors 
Television Receivers 
Television Transmitters, Cameras 
and Studio Equipment 
Theatre Television 
Test and Measuring Equipment 
Tube Parts and Tube Making 
Machinery 

“Victrola” Radio-Phonographs 
Application and Maintenance 
— Engineering Services 
Service and Maintenance for 
Consumer and Technical 
. Equipment 

Special Apparatus and Technical 
Services for the 
United States Government 


. Everything RCA does is better 
because of everything RCA does 



TMKS® 


RCA LABORATORIES DIVISION 

Fundamental research in physical electronics and the 
physics and chemistry of electronically active solids 

Applied research in radio, electronics, acoustics, sound 

recording and reproduction, television tubes, and transistors 

Laboratory and Technical Service to RCA Licensees » 

« 

NATIONAL BROADCASTING COMPANY, INC. 

National Network and Local Standard and FM’ Broadcasting 
National Network and Local Television Broadcasting 
4 Television Film Distribution 
National Spot Advertising 

RCA COMMUNICATIONS, INC. 

* 

International Radiotelegraph Service 

International Radiophoto Service • Teleprinter Exchange Service 
International Radiotelephone Service 

Interaauoiial,.PjX!gjaJDa«lEans.I?.ission^ejw^ce^ i *^^Leased Channel Service 
RADIOMARINE CORPORATION OF AMERICA 

Marine Radiotelegraph and Radiotelephone I ransmitters and Receivers 
Radiotelegraph Service between Ships and Shore * Radio Direction Finders 
Radar and Electronic Navigation Equipment • Automatic Radio Alai ms 

RCA SERVICE CO.- 

9 

RCA INTERNATIONAL DIVISION 
RCA INSTITUTES, INC. 






I 4 


HIS MASTER’S VOICE” 


a 


RADIO CORPORATION OF AMERICA 

* Trade Marks Registered U. S. Fat. Off.— Nlarcas Registradas 


N 


* 4 * 


72 


RECORDS 


X^SniETY 


Wednesday, October 1 , 1952 




Disclick Fastest Route to Boffo B. 0. 

— - ■ Continued from page 1 ■ - 1 - ~ 


whom were battling for the secondary bookings until 
their disk impact turned them into much-sought-for names 

for the top nitery and theatre showcases here and 
abroad. Another case in point is June Valli, the $35 a 
week Bronx bookkeeper who capitalized on her chance 
on “Slop The Music” with an attendant RCA Victor pact. 

It_ Start ed C rosb y | 

These b.o. values interpret themselves through every 
strata of show biz. It's not merely the personals. A dis- 
click creates Hollywood and TV stars. Nor if this a new 
phenomenon either. That's how Hollywood first heard of 
Bing Crosby. Also Rudy Vallee and later Frank Sinatra. 
Paul Whiteman went from Victor records to a Universal 
film starring him as “The King of Jazz.” Dorothy Lamour 
was a band singer. So was Betty Hutton who bounced 
from Vincent Lopez’s orchestra into Paramount celluloid. 
By coincidence, sort of completing the cycle, Rosemary 
Clooney (“Come On-A My House,” “Botcha-Me,” “Half 
As Much”) is now being spoken of as the Par contractee* 
who will take up the void now that Miss Hutton has gone 
indie. * 

Frankie Laine has already made a couple of films for 
Columbia and Don Cornell is set for a series of Universal 
musical shorts. (That stems, of course, from the new 
DeccarUniversal tieup). 

Video also has been latching onto the disk vocalists. 
Aside from Dinah Shore and Perry Como, both of Whom 
have been regular radio-TV fare for the past couple of 
years, Patti Page has been given an- NBC-TV slot while 
Georgia Gibbs, following her “Kiss of Fire” smash last 
spring, has been making the guest star circuit along with 
Peggy Lee who surged once again to the fore via her 
“Lover” etching for Decca. 

Curious aspect of the disk impact on other show biz 
media is that there's no discernible reciprocal action on 
platter sales. While personals in cafes and theatres, and 
shots on radio and TV have beneficial effect on the artist's 
wax sales, nobody knows how much, if at all, unless it's 
supported >y a click disk. But there’s been no question 
about how record hits boom an artist’s b.o. Disk hits 
bring out those customers unmistakably and instantane- 
ously. 

J Longer Route for D anny Kaye 1 

It took Danny Kaye three pictures and a phenomenal 
personal impact at the London Palladium, for example, to 
really give his films, past, current and future, the Stature 
they deserved. It was no secret that RKO’s foreign sales 
executives could sell any “Tarzari” easier than Kaye. 
This was no reflection on the star, who, with time, now r 
has achieved truly important 0 international stature. 

On the other hand Val Parnell books a .couple of disk 
names and he's forced into extra matinees at the same 
Palladium, in itself somewhat of a show biz Ripley for 
London. This happened with Frankie Laine and Guy 
Mitchell for the simple reason that a phonograph biscuit — 
an international message in canned music which requires 
no interpreter, merchandizer, script* rewriter or big hally- 
hoo campaign— -is so well understood on the local level, 
i.e., the average customer. And that goes for the pon- 
Anglais boys and girls who, in some respects, are more 
hep to the American jive than the sqqares at home. 

Music is an international language but somehow in re- 
cent years the pop phonograph recording magic has spoken 
beaucoup pounds, francs, lires, marks and kronen around 
the world with the~same boffo b.o. Impact as in the 
native Yankee dollars. 

A disk bestseller goes into the millions. It touches on 
millions of personalities. Even if they’re not buyers, the 
public is widely exposed to the new hit song, hit pop 
artists, new “sound,” or whatever the gimmick that cata- 
pults a platter into stratospheric sales. It may be an echo 
chamber, an off-heat approach, the “cry” technique that 
makes for a freak hit like Johnnie Ray, the driving, 
dynamic songalogy of a Frankie Laine, the Balkan beat 
of ’a William Saroyan song, “Come On-A My House” 
(Rosemary Clooney), the sweet balladeering of “Tennes- 
see Waltz” (Patti Page), the weird ballad that is “Nature 
Boy” (and its Nat ‘King’ Cole interpretation) — it may be 
any of a score of different factors, singly and in combina- 
tion, and when it happens-Vtimber! .It’s the jackpot. The 


Early Phono Era Cutups 

Performers who recorded for Columbia in the '90s 
were a pretty harum-scarum lot. Xhe boys got their 
checks on Friday afternoons; then several of them 
Usually sat in on a poker game that sometimes lasted 
to Monday morning. 

Late one Sunday night’ Len Spencer, the leading ' 
phono comedian of the time, had played so long, with 
only occasional pauses for refreshment, that he was 
exhausted. He sank back in his chair and went to 
sleep just as it was his turn to play. The cards dropped 
from his hands and his cronies saw with sincere hor- 
ror that he held a perfect hand that would take the 
big pot then on the table. 

Something had to be done, and it was. George 
Gaskin, “The Irish Thrush, *’ carefully redistributed 
the cards. He then shook Spencer, saying: “Wake up, 
Len! You’re holding' up the game!” 

Spencer rubbed his eyes and looked unhappily 
ground. “Gee, boys,” he said, “I just had* the most 
wonderful dream! I dreamed I had a perfect hand — 
but of course anything like that is too good to ever 
happen to me!” 

Spencer had trouble with his eyes and for a time 
feared he was going blind. One night, while another 
game was in progress. Gaskin, by ' prearrangement 
with his confederates, snapped off the light. They 
then pretended to play as if they could still s , ee their 
Cards. A little while later they were urging Spencer 
to “quit stalling” and to “come cn and play!” 

The comic’s worst fears were confirmed. He was 
certain lie had been suddently stricken blind, and it 
wasn t until the lights were turned on that he realized 

he had been made the victim of another heartless > 
Joke. 


deejays plug it; : the jukes reprise it; becomes a trade- 
mark of inestimable value. 

Sometimes it’s an ephemeral fame — In fact most often, 
as withess Bonnie Baker’s boudoir version of “Oh Johnny 
Oh,” or Eileen Barton’s “Bake a Cake” (who’s currently on 
the wax again with “I Like”); Teresa Brewer’s “Music 
Music Music” or the zitherist Anton Karas’ “Third Man 
Theme,” but almost always it's a lifetime identification. 
It is a label as indelible as a Tiffany hallmark. Just a few 
f'rinstances: look* at what “Bei Mir Bist Du Schoen” (for 
which they got a hot 50 bucks from Decca) did for the 
Andrews Sisters. Or “If I Didn’t Care” for the Ink Spots. 
“Valentina” and Maurice Chevalier. “Ida” and Eddie 
Cantor. “Mammy” and “Sonny Boy” and A1 Jolson. “Be- 
gin the Beguine” and Artie Shaw. “Some of These Days” 
and Sophie Tucker. “Your Time is My Time” and Sophie 
Tucker. “Rhapsody in Blue” and Paul Whiteman. 

From the “B” Columbia label, Okeh, came a newcomer 
last winter with three concurrent disk sellers, all in the 
same lachrymose mood, “Cry,” “Little White Cloud That 
Cried” and “Please, Mr. Sun.” A star was born. Bing 
Crosby has his “Blue of the Night” 'and Rudy Vallee had 
his “Your Time Is My Time,” Russ Columbo had his “Sweet 
’n’ Lovely” — and today’s Frankie Laine does it with “Mule 
Train,” “That’s My Desire,” “Lucky Old Sun,” “Jezebel,” 
“Shine” and “Jalousie” Guy Mitchell does it with “My 
Truly Fair,” “The Roving Kind,” “Sparrow In the Treetop,” 
Eddie Fisher with “Wish You Were Here.” Tony Bennett 
does it with “Because Of You,” “Cold Cold Heart,” Vaughn 
Monroe does it with “Riders in the Sky” and “Ballerina.” 
Perry Como does it with the classic Chopin theme, “Till 
The End of Time,” “Prisoner of Love,” “Ave Maria” and 
“Dreamer’s Holiday.” Patti Page parlays “All My Love” 
' with “Tennessee Waltz,” Peggy Lee dittoes with “Manana” 
and “Lover,” Les Paul and Mary Ford account for 6,000,000 
gross disk sales with “How High the Moon,” “Tiger Rag,” 
“Mockin’ Bird Hill,” “Whispering,” “Tennessee Waltz” (on 
which they took second money to Miss Page. ) 

Billy Eckstine went to the top with “Caravan” and 
ditto for Vic Damone with “You’re Breaking My Heart,” 
and Gordon MacRae with “Body . and Soul.” Doris Day 
stepped out on “Sentimental Journey,” when she was still 
with the Les Brown band and then clinched it with “It’s 
Magic.” Jo Stafford went the same route via her corn- 
ball takeoff of “Temptation” with the Red Ingle orch. 
Sarah Vaughan made the grade with “It Might As Well 
Be Spring” and Ella Fitzgerald, of course, with “A-Tisket 
A-Tasket.” 

The international pitch works in reverse, too, as wit- 
ness Chevalier's gamut from “Valentina” to “Louise”; Carl 
Brisson’s “Beer Barrel Polka,” “Cocktails for Two” and “I 
Kiss Your Hand Madame,” Jacqueline Francois's sultry 
French ballads, Edith Piaf’s “Trois Cloches” and, of course, 
“La Vie en Rose”; Charles Trenet and “La Mer,” among 
his other self-written ballads. All these have had their im- 
pact in the U. S. talent market. 


Back to ‘Music Coes ’Round and ’Round’ 


In the madcap 52d Street days when the nation was first, 
discovering swing, Farley & Riley made their nonsense 
tune, “The Music Goes 'Round and 'Round (And Comes 
Out Here)” almost a national anthem. 

From nowhere comes a Frank Sinatra with “All Or Noth- 
ing At All” and “I’ll Never Smile Again,” and he almost 
winds up with Tommy Dorsey working for him instead 
of being one of TD’s Pied Pipers. Dorsey, in turn, whams 
over “I’m Getting Sentimental Over You” into a personal 
trademark and rides the crest with “Boogie-Woogie.” 

But the golden age of the disclick appears to be now, 
in this highly developed electronic era where microphones 
all over the land project the current pops and tops. The 
record is indeed king not only of Tin Pan Alley but of a 
large segment of show biz. A good filmusical or Broadwav 
legit musical score means a flock of platters which become 
automatic advance agents for the attraction — a continuous- 
ly replenishing cuffo commercial, as it were, for the show. 

Songs have oftefl made ’em into hits. Hollywood knows 
that and constantly strives for a good title song. It dates 
back to “Charmaine,” “Diane,” “Jeanine, I Dream of Lilac 
Time” (that was the only way to drag “Lilac Time” into 
the film title) and “Ramona” in the pioneer days of the 
Hollywood gold rush. When it reached the stage that 
they were writing theme songs titled “My Dynamite Man. 
I Love You” and “Woman Disputed, I Love You” that was 
the end — for a time anyway. 

On the amorous song title, an old Harry Archer-IIarlan 
ballad, “I Love You,” carried an early 1920s Broadway 
musical. “Little Jessie James,” into pay dirt. The current 
“Wish You Were Here” impact, from the Leland Hayward- 
Joshua Logan-Arthur Kober-Harold Rome Broadway le- 
gituner of the same name, is largely credited for carrying 
that Broadway musical over the hump after a set of very 
bad notices. 

T-he public - was. never, -as .record-minded as now. The 
battle of the speeds dramatized the fullest values of per- 
fected sound reproduction. Result has been that the* ex- 
isting 16,000.000 conventional phonograph players (78 
rpm) have been augmented by almost 6,000.000 new 
players which accommodate either the new 45 rpm ( which 
RCA Victor pioneered) or all three speeds, including the 
33 rpm (LP, which Columbia pioneered for its albums). 

The 2,000 disk jockeys (which includes the straight plat- 
ter spinners as well as the 100 to 200 “personality” gab- 
bers) across the land thrive on records. Their chatter 
would be nil sans the platters. These deejays hav,e ter- 
rific local impact, and their part in exploitation of this or 
that song or artist is undeniably important. The more 
than 500.000 jukeboxes bring recorded music into intimate 
contact in taverns, soda fountains, eateries, niteries and 
factories^ 

It is no wonder that over night the artist becomes a 
household word. Compare any of the above with the table 
herewith and note how long and arduous was the task for 
song identification by some of these names. True, the 
longer route mayhaps has created a more enduring impact 
on the annals, but by the same token the new generation 
may be hard put to identify just what “Redhead” had to 
do with Irene Franklin or even “I Love a Lassie” with Sir 
Harry Lauder. But a relative newcomer like Don Cornell 
and “It Isn’t Fair” or “I Walk Alone,” or A1 Martino’s iden- 
tification witlv “Here In My Heart,” requires no script. 
That’s the boffo b.o. magic of the present-day hot pop 
platter. 


Trademark Songs and Their Singers 

(Often these songs marked a turning point in their 
professional careers , or became indelible trademavhs 
for the artist) 

Andrews Sisters — “Bei Mir Bist Du Schoen.” 

Belle Baker — “My Kid.” 

Bonnie Baker — “Oh Johnny Oh.” 

Eileen Barton — “Bake a Cake.” 

James Barton — “Annabelle Lee.” 

Nora Bayes — “Shine On Harvest Moon.” 

Ben Bernie — “Pleasant Dreams.” 

Jules Bledsoe — “01 Man River.” 

Irene Bordoni — “The Birds Do It, the Bees Do It.” 
Emile Boreo — “Parade of Wooden Soldiers.” 
Lucienne Boyer— “Parlez-Moi d’Amour.” 

Fannie Brice — “Rose of Washington Square.” 

Carl Brisson — “Cocktails for Two.” 

Cab Calloway — “Minnie the Moocher.” 

Eddie Cantor — “Ida.” 

Maurice Chevalier — “Valentina,” “Louise.” 

Maggie Cline — “Throw Him Down McCloskey.” 

George M. Cohan — “Give My Regards to Broadway.” 
Russ Columbo — “Sweet ’n’ Lovely.” 

Noel Coward — “I’ll See You Again.” 

Bing Crosby — “When the Blue of the Night.” 

Bessie McCoy Davis — “Yama-Yama Man.” 

Tommy Dorsey — “I’m Getting Sentimental Over You.” 
Morton Downey — “Carolina Moon.” 

Jimmy Durante — “Inka Dinka Do.” 

Nelson Eddy — “Shortnin’ Bread-’ 

Benny Fields — “Broadway Rhythm.” 

Irene Franklin — “Redhead.” 

Glen Grey — “Smoke Rings.” 

Anna Held— -“Why Do You Wanna Make Those Evei 
at Me For?” 

Hildegarde — “Darling, Je Vous Aime Beaucoup.” 
Libby Holman — “Moanin' Low’.” 

Bob Hope — “Thanks for the Memory.” 

Joe E. Howard — “I Wonder Who’s Kissing Her Now.” 
Ink Spots — “If I Didn’t Care.” 

Harry James — “You Made Me Love You.” 

George Jessel — “My Mother’s Eyes.” 

A1 Jolson — “Mammy,” “Sonny Boy.” 

Mario Lanza — “Be My Love.” 

Harry Lauder — “I Love a Lassie.” 

Gertrude Lawrence — “Limehouse Blues.” 

Eddie Leonard — “Roly Boly Eyes.” 

Ted Lewis — “When My Baby Smiles at Me.” 

Vincent Lopez — “Nola.” 

Tommy Lyman — “Melancholy Baby.” 

Freddy Martin — “Tschaikowsky's Piano Concerto.” 
Tony Martin — “There's No Tomorrow.” 

John McCormack — “Mother Machree.” 

Raquel Meller— “Who’ll Buy My Violets?” 

Ethel Merman — “I Got Rhythm.” 

Glenn Miller — “In the Mood.” 

Mills Bros. — “Paper Doll.” 

Florence Mills — “I’m Just Wild About Harry.” 

Vaughn Monroe — “Ballerina.” 

Helen Morgan — “My Bill.” 

Jack Norworth — “Take Me Out to the Ball Game.” 
Chauncey Olcott — “My Wild Irish Rose.” 

Ann Pennington — “Black Bottom,” “Charleston.” 
Edith Piaf — “La Vie en Rose.” 

Harry Richman — “Puttin' on the Ritz.” 

Blanche. Ring — “Rings on My Fingers.” 

Jean Sablon — “Le Fiacre,” “J’Attendrai.” 

Fritzi Schell — “Kiss Me Again.” 

Blossom Seeley — “Doing the Todelo.” 

Artie Shaw — “Begin the Beguine.” 

Dinah Shore — “Yes, My Darling Daughter.” 

Ethel Shutta — “I Found a Million Dollar Baby in a 
Five and Ten-Cent Store.” 

Frank Sinatra — “All or Nothing at All.” 

Kate Smith — “When the Moon Comes Over the Moun- 
tain,” “God Bless America.” 

Tamara — “Smoke Gets in Your Eyes.” 

Eva Tanguay — “I Don’t Care.” 

Lawrence Tibbett — “Without a Song.” 

Charles Trenet — “La Mer.” 

Sophie Tucker — “Some of These Days.” 

Rudy Vallee — “Your Time Is My Time.” 

Ethel- Waters — “Stormy Weather.” 

Paul Whiteman — “Rhapsody in Blue.” 

Bert Williams — “I Ain't Got Nobody.” 

Hannah Williams — “Cheerful Little Earful.” 


Biggest Selling Victor Record 

Biggest selling Victor record — at least of pre-elec- 
tric epoch — was No. 19427, Vernon Dalhart's coupling 
of “The Wreck of the Old 97” and “The Prisoner’s 
Song.” Estimates of sale have run 'between 6,000,000 
and 7,000,000 copies, and electric re-recording by 
Dalhart is still in print. (Dalhart’s real name was 
Marion Try Slaughter. He was a Texan who took 
his stage name from two towns, Vernon and Dalhart, 
near which he grew up. He died in 1948.) 

Not only was this a record-breaking record, it also 
probably caused more litigation than any other ever 
issued. Since no composer was listed for the “Wreck” 
side, dozens of persons, mostly Virginia mountaineers, 
arose to say they wrote the ditty and were entitled to 
royalties. Most persistent claimant was late David 
Graves George, who was declared the composer by a 
Federal court only to have his claim overturned later, 
after Victor appealed to U. S. Supreme Court. Pres- 
ent-day “Wreck” sheet music lists authors as Henry 
Whitter, Charles W. Noell and Fred J. Lewey. There 
was never any doubt as to where tune came from. It 
was lifted from “Ship That Never Returned,” mourn- 
ful ballad of Civil War period by Henry C. Work, 
who also wrote “Marching Through Georgia” and 
“Grandfather’s Clock.” 

As for “Prisoner,” Dalhart said on occasion it was 
written by his cousin, Guy Massey. (Dalhart used 
couple of dozen names as recording artist and “Guy 
Massey” was one of them.) Other times, he said he 
wrote it himself. But Nat Shilkret, then musical 
director at RCA Victor, seems to have as good a 
claim as anybody to composer recognition. 



♦ 


4 ' 


Deejays Never Had It So Good 


Bv MORT NUSRAUM f 

(WHAM and WHAM-TV } 


Rochester; N. Y. 

In appraising the growth of an 
industry, one points to the changes 
that have taken place. The deejay, 
however, can't refer to the -good 
old days.” Back in 1936, for ex- 
ample, when I first started spin- 
ning platters, a guy could never 
be Quite sure whether the next 
mail would bring a thank-you note 
from an artist or a summons from 
a record company for playing their 
record on the air without permis- 
sion (which they , wouldn’t give!). 
Getting a "free record” was al- 
most unheard of. * 

Well, we’ve all come a long way 
since then. The diskeries have 
found they need the deejays, and 
the jocks know what hey knew 
all along — we sure need the rec- 
ords! And in spite of the occasional 
hassles, it’s been a mighty happy 
marriage! 


To say we’ve come a long way 
is really putting it mildly. Remem- 
ber when records used to be so 
n.isy (with surface scratch) that 
sometimes one out of every two 
records had to be discarded? What 
a difference between then and the 
quality now. And the people them- 
selves! I think I was spinning rec- 
ords for years before I knew that 
an a&r man was a human person; 
and a music publisher was some- 
thing whose name you saw on the 
leadsheet of a song — when you 
bought it! 


Those sure weren't the "good 
old days.” But I wonder how many 
jocks are still around who reftiem- 
ber them? Nowadays all these 
things are taken for granted. Jocks 
have come to expect the steady 
flow of wax, the long-distance calls 
from a&r men, publishers, and 
artists, and the countless promo- 
tional gimmicks that go to- make 
up the business. Maybe we don’t 
take the time to say this very 
often, but we sure know that with- 
out you guys at the other, end of 
the line there just wouldn’t be 
any of us guys spinning them at 
this end. Maybe we don't like to 
admit it publicly, but most of us 
must admit that our shows! are 
as good or as bad the music we 
play. And in spitq of all the gim- 
micks, contests and what-have-yous 
that are constantly employed by 
platter-spinners, — the one thing 
more than all else that commands, 
—and keeps, a good Hooper is the 
music! 

It’s been a good association, this 
one between the deejays and the 
record industry, but that 100 years 
from now Variety will print a 
rumor that "a certain jockey 
(they'll still have them) is sus- 
pected of having accepted a space- 
trip to Jupiter as payola.” Mind 
you, no one will yet have been 
able to prove it — but the stories 
will still be there, 

I have been protesting for years 
that alleged payolas were overex- 
aggerated. But maybe I’m wrong. 
Maybe there are guys who won’t 
plug a tune unless they collect for 
it. If that’s true, let me ask this 
question: are those guys who are 
on the take so important that they 
can’t be left out? No one guy can 
be that important. ..Why don’t . the. 
payers of payola start ignoring 
such a guy- -don’t send him re- 
leases, exclusives, and interviews. 
How long do you think he could 
continue to be important in his 
community under those circum- 
stances? There are too many places 
where records can be spun be- 
cause the jock things the song is 
^.?°u and knows his public will 
hke it There are too many sta- 
tions (like mine) and too many 
jocks (like me) where the only 

payola” we understand is a good 
recording. 


Hosp Fund’s 20th Ann 

^y s * c * aus Emergency Fu 
which brings live concerts into i 
rans hospitals around the couni 
will mark the 20th anni of Its B 
S lzed Veterans Music Serv 
ii i , i a dinner and cavalcade p 
tn U jr tio ™ at the Hotel Waldorf- 
*1,11 Y.. Oct. 31. 

fund Kreisler ls chairman of 


Doesn’t Happen Today 

Most show bis personalities 
have been willing to make rec- 
ords, but have sought the high- 
est possible fee for their ef- 
forts. 

But Joseph Jefferson, cre- 
ator of the stage part of "Rip 
Van Winkle,” was different. 
In 1903, a couple of years be- 
fore his death, Columbia asked 
the venerable Jefferson to 
record a- couple of scenes from 
the famous play. So he waxed 
"A Scene in the Mountains” 
and "Rip Returns Home After 
20 Years Absence.” 

When he was asked, after 
making the records, what he 
thought he should be paid, he 
replied: 

"Nothing — nothing at all, 
my boy! Glad to oblige you!” 

And he wouldn’t take any 
money. 

-------- , 


Pioneer Efforts 
For More Volume 

Problem of how to get more 
volume out of pre-electric records 
was one that early phono firms 
tackled In different ways. 

Cylinder makers came through 
in ’90s with the big concert-size 
cylinder, five inches in diameter — 
about the size of the calf of the 
average man’s leg — and also known 
as "sewer pipes” because of their 
resemblance to those utilitarian 
articles. Big rollers didn’t play 
any longer than small two-minute 
size, but grooves were so large and 
so far apart the volume of sound 
was greatly Increased. This was 
particularly true when the “Poly- 
phone” attachment, embodying 
two reproducers and two horns, 
were used. Cylinders sounded fine 
for that day when the two repro- 
ducers tracked in unison — which 
they hardly ever did. 

Around 1905, an English in- 
ventor, Chauncey Parsons, invent-, 
ed the "Auxetophone,” a device 
for increasing the volume of a disk 
machine by applying compressed 
air. Several concerts were given 
in London (a few also by Victor in 
this country) in which enough 
sound was generated to fill a large 
hall, but the device was clumsy, 
expensive and hard to handle, so 
it rated only novelty interest. 

In 1906, Columbia introduced 
the "20th Century Sound Magnify- 
ing Graphophone,” at first known 
as the Highamphone because It 
was invented by Daniel Higham of 
Boston. Thing played six-inch 
cylinders and used pressure from 
an amber flywheel to increase vol- 
ume. They were popular attrac- 
tions in front of early movie 
shows, and seme veterans still re- 
call hearing "The Preacher and 
the Bear” coming clearly through 
the air a mile or a mile and a half 
from where the machine was sta- 
tioned. It likewise was compli- 
cated and troublesome and its 
vogue soon passed. 

From then on, those who wanted 
gobs of volume from their record- 
■ednrtmsic ‘just 'stuck in an extra 
loud-tone steel needle. 

ELLINGTON FETE MARKS 
HIS 25TH BIGTIME ANNI 

Marking his entry into the big- 
time , via his booking at the old 
Cotton Club in Harlem in 1927, 
Duke Ellington will be recipent 
of a Silver Jubilee promotion when 
he goes into the N. Y. Paramount 
Oct. 22. 

Mills Music, which publishes 
most of the Ellington standards, 
is setting the promotion on radio 
and TV. About 20 shows are slated 
to program the Ellington tunes 
during the composer-bandleader’s 
stand at the Paramount. Art Ford, 
WNEW, N. Y., disk jockey, will 
devote a full night to the Elling- 
ton numbers during that period. 

Sidney Mills, Mills’ professional 
manager, went on the road Sunday 
(28) to line up out-of-town jock- 
eys for the drive. 


HEICE THEY HAVE 


By BILL RANDLE 

( WERE Disk Jockey) 

Cleveland. 

A new kind of show business has 
developed in the past 10 years that 
has thoroughly revolutionized the 
| music business. The people who 
have created this new kind of show 
business are not talents in the 
usual sense. They are not usually 
well known outside their regional 
or local area; yet, individually and 
collectively they earn as much as 
major performers in the entertain- 
ment fields and have an impact on 
show business that is tremendous. 

There are really no more than 
100 r al disk jockeys in the coun- 
try today; people who are employed 
on a contract or fee basis for do- 
ing specific record shows with con- 
tinuous time segments in the major 
or semi-major markets. This In no 
way negates the performers who 
are on their way up; or who Work 
on small stations in different parts 
of the country and who in many 
ways, are more alert and aggres- 
sive than the so-called big time 
disk jockey. They (the best of 
them) will work up into the cir- 
cles of high paid performers in 
due time. But, at this point, 100 
more or less top performers con- 
trol the popular music business in 
a very real sense, 
i Without the concerted action of 
| (Continued on page 92) 


First ‘Original 
Cast’ Record 

Nowadays it’s a commonplace to 
have the entire score of a smash 
hit — and some that aren’t smash 
hits — plattered by the original cast.' 

But that’s a development of com- 
paratively recent years. Perhaps 
the first excerpt from a stage show 
to be recorded wholly by members 
of the original cast was a 1904 Vic- 
tor of the "Swanee River” scene 
from "When Johnny Comes March- 
ing Home,” sung by the stars of 
the original production, “Miss 
Quinn and Mr. Thompson.” Disk 
depicts a scene in which Miss 
Quinn, “a proud Southern beauty,” 
sings “Old Folks at Home” inside 
her boudoir, while Thompson, sup- 
posed to be standing beneath her 
window, gives with a harmonious- 
ly blending serenade. 

Also isn’t generally known that 
1902 Columbia record of “Tell Me, 
Pretty Maiden” was made by Joe 
Belmont, Byron Harlan and Frank 
C. Stanley with the help of three 
of the original Floradora Girls — 
which three isn’t clear. Platter 
was so popular Columbia seriously 
considered laying off production of 
all other disks for several weeks 
in order to turn out nothing hut 
“Pretty Maidens.” Extreme step, 
however, wasn’t taken. 

‘Fabulous’ Prices For 
George M. Cohan Records 

l Variety contributor recently was 
| asked by a woman in Vermont if 
he would like to buy her copy of 
George M. Cohan’s Victor waxing 
of “Life’s a Funny Proposition, 
After All.” Lady said her town 
librarian had told her Cohan rec- 
ords are so scarce this 1910 platter 
was worth more than $1,000. What 
she particularly wanted to know 
was, how much more? 

False rumors about rarity and 
value of Cohan records are one 
of oddities of the disk biz. Stories 
have gone around that master rec- 
ords were unknown when Cohan 
recorded, that he had to sing each 
of his platters separately, and only 
200 copies were made of each. 
Truth is — V ariety mugg told lady 
— that “Life’s a Funny Proposi- 
tion” was big seller, and markings 
on one of his own copies show 
more than 150,000 pressings had 
been turned out at time it was 
made. Record is worth $1 or so. 


A KID CALLED FISHER 


Origin of ‘Victrola’ 

In a letter, June 9, 1905, 
from Eldridge R. Johnson to 
his attorney, “The word ‘Vic- 
trola* is similar to nothing that 
I have ever heard of and 
seems to me to have a sound 
suggestive of music, and would 
in all probability be the best 
word to use.” The name was 
applied to his cabinet-type 
talking machine which fea- 
tured the horn concealed with- 
in the cabinet. 

Emile Berliner apparently 
coined “gramophone” because 
other names such as “Grapho- 
phone were already being used 
'by other companies. 


Artists With Own 
Record Companies 

There’s nothing new about movie 
stars deciding they can do more 
justice to their artistic endeavors-— 

and make more money — by setting 
up their own producing company. 
Often the effort is a flop. 

Same thing was true of some of 
the early recording artists. Grow- 
ing peevish at making cylinders for 
Columbia, Edison or United States 
at 75c or $1 a “round,” they de- 
cided they’d set up in business for 
themselves. Businesses didn’t last 
long and were probably more hard 
work than fun. 

John W. Myers figured his bari- 
tone renditions of pop songs and 
operatic excerpts would bring him 
a better income if he not only 
waxed but distributed them him- 
self. He did, for a year or so be- 
fore the turn of the century. 

Like sentiment was entertained 
by a tinny tenor, George J. Gaskin, 
"The Irish Thrush,” said to have 
relieved the monotony of record- 
ing by ejecting plug tobacco juice 
into the horn as he sang. Gaskin 
was in a hurry to make money — 
so much so* that penny arcade ex- 
hibitors complained he didn’t give 
value received and should lengthen 
his records by singing another cho- 
rus. (Nowadays the jukebox frater- 
nity considers anything much over | 
two minutes too long!) 

Another tenor, Roger Harding, 
struck out on his own, specializing 
in recording nursery rhymes for 
children. He died in 1901. 

Russell Hunting’s "Casey” mono- 
logs were the most popular comic 
cylinders of the Gay 90s. For a 
time Hunting’s services were exclu- 
sive to Hunting. He complained bit- 
terly that other characters who 
lacked his savvy were making 
“Casey” records for competing 
companies. 

The historic Hayden Quartet 
(name originally was Haydn, but 
John Citizen wouldn't say High-d’n, 
so they obligingly changed it to 
Hayden) had the American Record 
Co., with members of the quartet 
as officials. Foursome consisted of 

•J-ohn JMeling^ Brsi , tenor; Barry. 

Macdonough, lead; S. H. Dudley, 
baritone, and Bill Hooley, bass. 
You could pick out any song you 
liked and the quartet would record 
it for you on special order. 

Only woman owner of a diskery 
appears to have been Estella Louise 
Mann, soprano of the Original 
Lyric Trio, who founded her own 
Lyric Record Co. in 1898. Born in 
Nashville in 1870, Miss Mann was 
then just 28.' She also would sing 
any number in the soprano rep- 
ertoire to special order. Business 
lasted year or so. After some stage 
experience, Miss Mann retired, 
dying at the Evansville, Ind„ home 
of her brother, W. J. Mann, in 
1946. 

And in the early 1920s, Homer 
Rodeheaver, the baritone soloist at 
Billy Sunday's revivals, founded 
the Rainbow Record Co., featuring 
his “sacred* solos,” and did well 
for several years. But, like Burr, 
Rody kept singing for the other 
jfellow*. 


+ By EDDIE CANTOR, Dee Jay 

% Hollywood. 

My granddaughter, Judy Mc- 
Hugh, is 13, looks like 16, and 
talks like mad. But she knows 
records. She should. Every now . 

and them 
when Ida is 
not looking, I 
slip Judy a 
couple of 
bucks and 
invar iably' 
ask, “What 
are you going 
to do with 
the money. 
Honey?” Her 
answer never 
varies. “I’m 
going to buy 
records.” What I say now should- 
n’t come to you as a terrific shock, 
and is probably as obvious as Jes- 
sel’s line of conversation when 
lunching with a girl, but a good 
part of the record business de- 
pends on teen-agers like my Judy. 

Doing a half-hour radio show 
once a week called “Eddie Cantor 
— Show Business,” I have been 
sort of .a glorified disk jockey and 
have had a lot of fun doing it. 1. 
It keeps me up on what records 
people are buying. 2. I have 
learned about all of the record 
collectors in all of the 48 states. 

But for a good heart-to-heart 
about platters, let me talk with a 
youngster who has made this a 
world of her own. 

The other night I drove my 
granddaughter home and we got 
on our usual topic. “Tell me, 
Judy,” I said, “who do you and 
your friends like best of all the 
people making records right now.” 
Judy didn’t have to think about it. 
She knew. Rosemary Clooney, 
Eddie Fisher, and I didn’t hear 
the rest of her list because my 
thoughts never got past, this kid, 
Fisher. 

I got a sort of a paternal glow 
thinking of the luncheon at the 
St Regis Hotel, in N.Y., a couple 
of years ago when I introduced 
him to the head of Victor’s record- 
ing. After the meeting, we called 
Milton Blackstone who has guided 
him in a nice, straight path — the 
path that leads *to nice newspaper 
clippings, big applause and that 
pretty green stuff. In a little while 
Eddie Fisher was recording for 
Victor and getting ready for that 
“big one.” 

While waiting, Eddie was travel- 
ing with me across the country. 
We had been making personal 
appearances in Baltimore, Chi- 
cago, Omaha, Lafayette (Ind.), 
San Francisco and other cities. 
The audiences went for this fresh- 
looking kid with a smile that made 
every woman want to jump up and 
mother him.* The teen-agers want- 
ed to smother him. In Chicago I 
had to beat them away with a 
stick. 

All the time, in between shows, 
Eddie kept talking records. I can 
remember telling him, “Think of 
it, kid. If the right one comes 
along, you may sell as many as 
1,000,000 records. How would you 
like that? You’ll be in more than 
1,000,000 homes.” He became 
frightened at that. “Mr. Cantor,” 
he asked, “what if this record is 
no' good?" ■ '“IriTthat cMS;”~rtoid' 
him, “you don’t have to worry. It 
won’t be in anybody’s home but 
your own.’,’ The “big one” came 
a little after our tour. It was 
“Bring Back the Thrill.” It began 
selling by the hundreds, by the 
thousands. Eddie called Milton 
Blackstone. Blackstone called me. 
I called Fisher. Fisher called his 
mother. Victor was making money, 
but the telephone company was 
cleaning up. 

Kenton, Yanghan, Cole 
Gross 16G in Columbus 

Columbus, Sept. 30. 

“Biggest Show of ’52” picked up 
a sock $15,800 In two shows Wed- 
nesday (24) at Memorial Hall 
here. 

The Stan Kenton, Sarah Vaugh- 
an, Nat Cole troupe was brought 
in by Ben Cowall, local promoter. 
Top was $3.50. 



Eddie Cantor 


74 HECORM 


Presidents on Wax— and legends 
About Disk Stand-Ins 


By BOB WALTON 


, This being the age of radio and video, Ike Eisenhower 
and Ad Stevenson ’probably won't make phonograph plat- 
ters discussing and debating the issues of the 1952 presi- 
dential campaign. But there was a time when records — 
whether flat disks or cylindrical "rollers”— played an 
important part in drives ipr votes. As mr.ttor of fact, 
U. S. Presidents have been making records almost since 
Edison’s invention of the tinfoil phono apparatus in 1877. 

It’s a reasonable guess that Rutherford Birchard Hayes 
was the first American chief executive to have his voice 
recorded, although the sound doesn’t seem to have been 
preserved. But Thomas Alva Edison gave a demonstra- 
tion of his new tinfoil phonograph gadget at the White 
House in April, 1878 — and who can doubt that he invited 
the Olympian bearded President Hayes to stammer a few 
thoughtfully chosen phrases into the mouthpiece and 
that Hayes accepted? 

Benjamin Harrison seems to have been the first Presi- 
dent to be listed in a catalog as a recording artist. The 
Bettini Co., one of the pioneer makers of wax cylinders, 
put out a record catalog in the 1890s, and Harrison 
was named as one of the celebrities whose voice the 
company had recorded. What he talked about wasn’t 
revealed. 

Grover Cleveland and William McKinley will be dis- 
cussed a bit later. In 1904, neither Theodore Roosevelt, 
Republican nominee, nod Alton B. Parker, Democrat, 
made records, but, probably for the first time, a couple 
of now forgotten campaign songs were recorded. Billy 
Murray, then coming into his own as the most popular 
of the pioneer phono artists, proved his versatility by 
espousing both the Democratic and G. O. P. causes. On 
Columbia Record No. 1863, he sang "the official Demo- 
cratic campaign song,” written by John W. Bratton, titled 
"Goodbye, Teddy, You Must March, March, March.” No. 
1864 was Murray’s version of a Republican anthem by 
Gus Edwards, "We Want You, Teddy, for Four Years 
More.” In 1907 Murray recorded another Vincent Bryan- 
Gus Edwards paen of Republican praise, "GOP.” 

There was something doing in 1908 when William 
Howard Taft, Republican, ran against William Jennings 
Bryan, who was having his third try for the Democrats. 
Both Bryan and Taft made records for Victor and Edison, 
They discussed the trusts, the tariff, the labor question 
and other assorted issues of the time. Taft also veered 
from politics into a defense of foreign missions and an 
analysis of Irish humor, while Bryan obliged with an 
excerpt from his "Immortality” speech. Both later made 
a few records for Columbia. Bryan made his own pre- 
liminary announcements in an unctuous baritone voice 
on the cylinders, finishing with the regulation "Edison- 
reck-cord!” Taft won the election, but the Edison Co. 
said that Bryan’s records were the most popular series 
they had ever issued up to that time. 

r Taft, Wilson, Roosevelt [ 

Perhaps the phonograph’s crowning achievement as a 
disseminator of political propaganda was reached in 1912. 
This time the candidates confined themselves to Victor 
records. For President Taft’s convenience, the ’ company 
set up special recording equipment at Hot Springs, Va., 
and the burly, good-natured president made several plat- 
ters there. Woodrow Wilson, running for .the Democrats, 
and Theodore Roosevelt for the Progressives, also spoke 
into- the horn, as did Champ Clark, Wilson’s unsuccessful 
rival for the Democratic nomination. Probably most lis- 
teners to the old records would consider Taft the most 
accomplished speaker of the three. He had a warm, 
mellow voice and a tone of sincerity. Wilson, on the 
records, was dry and rasping and sounded like a peevish 
professor. Roosevelt had a high effeminate voice, with a 
spiteful, hysterical pitch. 

In 1916 Wilson and Hughes passed up the phono- 
graph, and the issues were not debated on wax by Hard- 
ing and Cox four years later, although both, in common 
with many other notables of the period, spoke on a spe- 
cial series of "Nation’s Forum” ‘records marketed by 
Columbia. 

After 1920, radio took over, but the voices of Coolidge, 
Hoover, F. D. Roosevelt and Truman all of course have 
been recorded. "Silent Cal” on, a "Nation’s Forum” record 
speaks at a mile-a-minute clip, apparently intending, 
with Vermont frugality, to get in every possible word 
during his four minutes allotted time. Harding recorded 
a moving address for 'world peace in 1921 when the 
bodies of several thousand American service men were 
returned from France for burial. Hoover is best heard 
on a Victor record in which he argues with overwhelm- 
ing earnestness and sincerity against the U. S. entering 
World War II. Roosevelt’s most widely distributed record 
is his speech, taken off the air, asking Congress for a 
declaration of war. 


Going back tojhe turn of the century, among the popu- 
lar records in the slot-machine parlors of those days 
were"' excerpts' fromTKe "speeches 'bn’famotrs"' menvBy 
dropping in a penny you could hear Gladstone’s remarks 
on thrift or part of Bryan’s “Cross of Gold” speech. 
But the records were not made by Gladstone and Bryan, 
although the latter, a fe?tv years before his death, recorded 
the “Cross of Gold” oration for Gennett. Other artists 
occasionally had a voice in turning out these imitations, 
but most were made by a genius of varied skills, Len 
Spencer, who was the first world-famed recording artist. 

Thousands of collectors have found disks or cylinders 
bearing titles such as “President McKinley’s Speech at 
the Pan-American Exposition” and most of them still 
treasure' the platters, or rollers, in belief that they were 
made by McKinley himself. They weren’t. 

McKinley went to Buffalo to attend the Exposition and 
spoke there on Sept. 5, 1901. He. had.no opportunity to 
make a recording of his address, for he was shat the 
next day by an anarchist, Leon Czolgosz, and died on 
Sept. 14. There were no recording booths at the exposi- 
tion. 


However, McKinley was a popular president and in 
view of his martyrdom the record makers decided disks 
or cylinders purporting to contain his last address would, 
sell well. In November, 1901, Edison issued a two-minute 
cylinder of “President McKinley's Last Speech, Delivered 
at Buffalo, Sept. 5, 1901,” but frankly stated in the list- 
ing that it was made by Frank C. Stanley, a distinguished 
bass singer who died in 1910 and is best remembered 


today as the founder of the Peerless Quartet. Later, 
Spencer remade the record, but his name was o™tted, 

Columbia also Issued Spencer’s version, omitting nis 
name, on the theory, as one of their veteran officials 
years later explained, that the platter would sell better 
if the public were given the imprssion, without saying it 
in so many words, that it had been made by McKinley 
himself. The industrious Len also recited the piece for 
Victor, but his name appeared on the label. To this day, 
hundreds — probably thousands-'-of platter fanciers cher- 
ish the Edison or Columbia records and flatly refuse to 
believe the truth that William McKinley had nothing to 
do with making them. ' It is doubtful also that Grover 
Cleveland ever recorded, although he may have made a 
talk congratulating Edison on inventing the pbonograpn, 
as many other celebrities did. 

The Colombia title of the McKinley record is certainly 
misleading: "Address by the Late President McKinley at 
the Pan-American Exposition.” But the old Columbia 
catalogs also contain a Len Spencer version of Lincolns 
Speech at Gettysburg.” As yet nobody has arisen J° 
claim that the record was actually made by A. Lincoln 
himself. But, since Spencer’s name doesn’t appear on it, 
somebody probably will! 


RCA Custom Record Setup 
A Boon to 'Little Guy" 

By JAMES P. DAVIS 

( Manager , RCA Victor Custom Record Division ) 

Then there was the man who asked: "Why own a cow 

when milk costs so little?” . .. , 

The man had the right idea, and his theory as applied 
to the record business justifies the existence of RCA 

Victor’s Custom Record Division. Fo£ 
through the availability of the com- 
plete recording and manufacturing 
facilities of an established and repu- 
table organization, the little guy has 
attahied an important position in the 
commercial phonograph record in- 
dustry. 

No longer is the person with the 
million dollar recording idea and the 
thousand dollar budget stymied be- 
cause he can’t afford to operate a 
studio and plant. Now, he knows 
there’s no need to worry about fac- 
tory management and overhead when 
an experienced record manufacturer is set up to handle 
his production' efficiently and at a relatively low cost to 
him. He also realizes that It takes years of research and 
production know-how to turn out the top-quality product 
to meet and beat his competition. 

In short, RCA’s custom record operation makes it possi- 
ble for the independent to go into business on a large 
or small scale/ We offer a complete service— including 
recording, re-recording, processing and pressing — under 
the supervision of the same world-famous engineers who 
have developed RCA Victor’s own commercial label. And, 
in our studios and plants, conveniently located across the 
country, every custom-order gets the full treatment, based 
on RCA’s unparalleled sound reproduction, technical ex- 
perience and research. 

Today, we press commercial-type phonograph records 
for more than 100 independent companies. Some of these 
buy only part of our services. Others go all the way, from 
the initial recording right down to collating, album pack- 
ing and shipping in quantity to multiple destinations. 
While we’re producing his pressings and absorbing the 
attendant headaches, the customer can concentrate on 
merchandising and sales. 

Aside from its role in the commercial phonograph 
record field, the RCA Custom Record Division handles 
many other categories of highly specialized work. We 
make any type of recording in all sizes and speeds for 
every kind of individual and organization imaginable. 
We do a tremendous business in electrical transcriptions 
with advertising agencies and radio stations. RCA custom- 
made premium and promotion records are widely used 
by a variety of business firms, schools and -church groups. 
Quite a few of our orders are out of the ordinary and 
seem impossible sometimes, but in most cases we’re able 
to manage them. 

| Electronic Watchdog 

There would surely be a lot of -tomcat-s-unfriendly 
toward RCA Victor if they only knew that the barking 
dog who constantly scares them off a certain movie 
actress’ Hollywood estate is merely a custom-made speci- 
alty record. And, when one of oui engineers, equipped 
with microphone among other things, enters a telephone 
booth, he isn’t planning to make a call or tap a wire. 
Chances are he’s recording the sound of Japanese" beetles 
munching on leaves. This was a job for a large corpora- 
tion interested in using the results during an entomology 
lecture. 

The specialty recording field is broad in scope and 
-UaiiaUY. ...presents a. fascinating challenge. Among our 
assignments have been such odd sounds as silk worms 
in action, duck calls for use oy hunters,, aircraft engines 
for the U. S. Air Force, heartbeats for use in medical 
studies, church bells, animal mating calls and a hoot owl 
to frighten pesky starlings. We’ve also filled orders for 
records to teach the blind to play musical instruments, 
to help cure deafness, to tea'.h parakeets how to talk, 
and a multitude of other purposes. 

RCA’s Custom Record Division is the leading manu- 
facturer of slidefilm recordings today. Slidefilm producers 
have come to depend upon our advanced electronic tech- 
niques in the development of new methods of dramatizing 
their film stories through sound. They find our extensive 
slidefilm music library an effective tool for setting moods 
and backgrounds. 

This year, we’ve begun to sell RCA Victor’s "45” 
System as a supplement to slidefilms, lectures and 
brochures in the sales training field. 

Boil it down, and you’ve got a pretty much unlimited 
custom service in the recording, processing and pressing 
of the gamut of records and transcriptions. Every day, 
with the peculiar requirements of each new order, we 
learn additional means by which our function can be 
more valuable to customers. RCA Victor’s Custom Record 
Division is the kind of business whose future is guaran- 
teed by the man with the big idea and the small budget. 
That same man who won’t own a cow while milk costs 
so little. 



James P. Davis 


Wednesday, Oct ober 1 , 1953 

Ghost Voices-or SoundsThat 
Shouldn’t Have Been Recorded 

By RONNIE JAMES 

Whether the ghost will walk— that is, whether tli* 
troupe will be paid— is a question that has harried manv 
a thesp. But in elder days of record making "ghost voices” 
were also an important topic. 

A "ghost • voice” is any sound that gets into a record 
but doesn’t belong there. Apparently no special effort 
was-made ta keep them out in the 1890s and early 1900 s 
for they frequently turn up in old records and are some' 
times highly diverting. Even today, anyone who lets a 
platter run until the last. groove is reached may occasional- 
ly be rewarded with an unrehearsed sound worth hearing 

Take, for instance, the 1927 record of "Oh, How She 
Could Shake Her Tambourine,” which Irving Kaufman 
made under one of his numerous noms-de-disque — George 
Beaver. In the very last groove, someone, not Kaufman 
exclaims "Gosh durn it!” in a tone of heartfelt agony’ 
The unbilled speaker’s grief is obviously so strong it’s 
a wonder he didn’t say something more warming. Prob- 
ably the sound .emerged from a harassed soul in the 
control room. 

Records containing profanity don’t get on the market, 
but back in 1939 Brunswick put out an Eddy Duchin 
version of "Old Man Mose” in which the band thrush, 
Patricia Norman, exclaimed something that sounded al- 
most unbelievable. Maybe that wasn’t what Patty said, 
but it sure sounded like it! And at least one New York 
collector is said to have a rare aggregation of discarded 
pressings, in which the boys and girls express themselves 
with untrammeled verve when something goes wrong. 

Going back into the comparative Dark Ages, one funny 
platter is a 7-inch Berliner on which 31 basso, George 
Broderick, sings "Rocked in the Cradle of the Deep.” 
The record was supposed to have a preliminary announce- 
ment, and Broderick does give out the song title and 
his- own name. Then, after the piano starts jangling, 
he remembers he hasn’t identified the brand name and 
hastily exclaims, “Berliner Reck-ud!” instead of pronounc- 
ing it "reck-cord,” as announcers were supposed to do in 
those days. 

Seemingly, singers whose names started with George 
were particularly inclined to have trouble with announce- 
ments. George Alexander made a cylinder of “Mighty 
Lak’ a Rose” foi^Columbia. But he was mixed up for the 
moment about what company he was -singing for, and 
announced it as: "Edi-Columbia record.” 

Epileptic Thrusli [ 

At the very beginning of a 1914 Victor of "Where Caa 
I See You Tonight?” by Ada Jones and Billy Murray, 
there is a faint giggle by Ada. Although the most popular 
woman record maker of JJie acoustic period, the portly 
Ada suffered from epilepsy, and occasionally one of her 
recording engagements would be ended by a seizure. 
Murray says that more than once when they weijp re- 
cording a duet he would "hear a plop, look around and 
find poor Ada unconscious on the floor.”) 

Outstanding among sounds that shouldn’t be there but 
are is one at the beginning of an Edison Cylinder, "Pick- 
ings from 'Puck,” by Felix Haley, of the original ‘Way 
Down East’ company.” Before Mr. Haley begins his un- 
believably corny monolog, he asserts in a loud, firm voice: 
"I hollered!” Apparently the recording director had com- 
plained that he wasn’t speaking loudly enough in making 
records by the round and had exclaimed: "Say. you! 
Holler louder next time!” To which Mr. Haley indignantly 
retorted: "I hollered!’ - 

Myers also made a Globe cylinder of a forgotten ditty 
entitled "The Man in the Moon is a Lady.” Just after he 
finishes the chorus with that assertion, somebody in the 
background yells distinctly: "You’re ,a liar!” 

Not So Many Releases Yesteryear 

“Too many releases!” Thats the plaint which has been 
going up from record dealers for years. 

It was also being heard 30 or 40 years ago, but there 
was less justification then than now. Take the Victor 
supplement for October, 1920, as typical. 

There are single-faced Red Seal releases by Alfred 
Cortot, Emilio De Gogorza. Giuseppe De Luca, Geraldine 
Farrar, Flonzalcy Quartet, Mabel Garrison, Jascha Heifetz, 
Louise Homer and her daughter, Louise Homer Stires, 
John McCormack, the Philadelphia Orchestra, Titia Rufio 
and Reinald Werrenrath — who by that time had worked 
himself up from the lower-priced black and blue labels 
into a "celebrity” status. Quite a lineup of bigtimers, but 
nothing suggesting an overflow. 

Only two dance records were listed — a double-sided 
coupling by Joseph C. Smith’s Orchestra, and a Hawaiian 
guitar performance that could be used for terping if 
you liked. 

In the pop vocal field — the late Walter C. Kelly made 
his first appearance as “The Virginian Judge.” “V\ee 
Willie” Robyn, later one of the standbys of Roxy's Gang, 
sang two ballads, “I’m in Heaven When I’m in My 
Mother’s Arms” and Ernie Ball’s hit. "Do\vn the Trail -to 
Home Sweet Home.” Billy Murray and Ed Smalle teamed 
up in “Dardanella Blues,” a sequal to the phenomenally 
successful “Dardanella.” On the other side the Peerless 
Quartet gave George Gershwin a break by caroling ms 
first big hit, “Swanee.” John Steel sang two Irving Berlin 
numbers from the Ziegfeld Follies of 1920, “Tell Me, Lit- 
tle Gypsy” and “The Girls of My Dreams,” and a young 
lady named Sally Hamlin catered to the younger set with 
recitations of “The Three Little Pigs” and Eugene Fields 
poem, “The Drum.” I 

And that was the October, 1920, Victor list. 

Incidentally, while many more records are sold now 
than in the pre-electric days, and platter distribution of 
1 , 000,000 copies or more is quite frequently reported, its 
doubtful that the average pop number sells as well now 
as iil the days before the mike pushed the horn out of 
the way. There are almost innumerable small companies 
today, whose individual sales are not large but go to swell 
the overall total. Back yonder, when the number 01 
platter-makers was small by comparison and monthly re- 
leases were a trickle compared to today’s flood, the 1 ® 
was a better chance to concentrate on big sales of just 
a few issues. . 

With such titles as "Down the Trail,” "Swanee” and 
"Tell Me, Little Gypsy,” Victor’s pop sales for the mont 1 
under consideration should have been hefty, even thougn 
there were only a few disks to choose from. 



Wedneadsy, October 1, 1952 


PfitolEft 



BLUES IN ADVANCE 


BELA MUSIC A 


TELEVISION— 

The Dinah Shore Show 

for the 

CHEVROLET DEALERS of AMERICA 
NBC-TV . . . 7:30, EST 
Tuesdays and Thursdays 

RADIO"*** 

The Tide Show 

Mondays, Wednesdays and Fridays 
CBS... 7:15, EST 


S''-' ' 


M': 


•.v:.\ov.«*\v<vv.vav 






Wednesday, October 1* 1932 


Year after year, this ‘D&H’ market of 


3 , 500,000 

acclaim KC , 


people 


WILKES-BARRE 


• * 

✓ 

* • ^ 

\ • # 

• 

• * % 

•% * 


HARRISBURG 


- \ *% 


World leader in recorded 
music, radios & television " 






BALTIMORE 


?»<* •<-.* 


f] / //j v 

L'W/ 

sz&L/ 


» '% » 

^ 4 ,' 


In the densely populated ‘D&H’ 
land of diversified industry, com- 
merce, and agriculture, RCA 
Victor recorded music makes a 
profound contribution to the 


good life. Here, in one of the 
major markets of the East, D &. H 
and its family of dealers join 
•with RCA Victor in celebrating 
its Golden Anniversary* 


•%'1 

DEL 




• $ 

— 

y su 


D "W* *W* Exclusive RCA Victor Distributor 

& ±1 Distributing Co., Inc. 

BALTIMORE • HARRISBURG • WILKES-BARRE 



RCA VICTOR Records 


HILL aid RANGE SONGS, NC. 

New York • Beverly Hills • Chicago * Nashville 


For Over Thirty 
Years We Have Been 
Privileged To 

Manufacture 

• • 

Victor Record 
Label Papers 


And Best Wishes! 


Wyomissing 
Glazed Paper Company 

Reading, Pennsylvania 




Curreof RECORD Release “HOT LIPS” and “HOTTER THAN A PISTOL” 


A BRAND NEW ALBUM BY THE CITY SLICKERS 


SNOixoa 


(8 Songs of GOOD CHEER) 












PfiRlEf? 



Wednesday, October 1, I955 





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Wednesday* October X* 19$± 



CONGRATULATIONS 


cAl 



ASSOCIATED COMPANIES 


J. J. ROBBINS & SONS, INC. 

Edward Kassner, V/ce-Pres. 
Irving Deutch, Gen. Prof. Mgr . 


WORDS & MUSIC, INC. 

J. J, Robbins, President 
Cork O'Keefe, Sec'y-Treas. 


LONDON, ENGLAND 

J. J. ROBBINS & SONS, LTD. — EDWARD KASSNER MUSIC CO., LTD. 

Noel Rogers, Managing Director 

OTHER OFFICES • TORONTO • PARIS • BERLIN 


PSttlEfY 


Wednesda y, October 1, 1952 


Congratulations 

RCA VICTOR Records 










ON 

YOUR 

50th 

Anniversary 








CHAPPELL & CO., INC 

WILLIAMSON MUSIC, INC. 

T. B. HARMS COMPANY 
DE SYLVA, BROWN & 
HENDERSON, INC. 






Q<mafudulcdiOHl 


To RCA Victor 


and 




To Our RCA Victor Clients 


VAUGHN MONROE 

and His Orchestra 

% 

TONY MARTIN 
JUNE VALLI 

SAUTER-FINEGAN ORCHESTRA 

HENRI RENE 

j]e.Vuf jjoknla+i AMociatei. 

Record Promotion 

Servicing Disk Jockeys in the W’esf Since '39 
6223 Selma Avenue 

Hollywood 28, California Hillside 7239 


P'SfRIETY 


81 


Wednesday* 1 October 1 ? 1952 



C?N y<?UR GOL.PEK/ JUBILEE 










PSsti Efr 


Wednesday, October 1, 1952 


“Country Music 


NBC 

8-8:30 P.M. 

CST 


Played by 


HBC 

9-9:30 P.M. 

[IT 


PEE WEE KING 

and his BAND 

featuring REDD StEWART 

Seen and Heard Daily.on WAVE, Louisville, Ky. 




“The Pee Wee King Show” 

NBC, Network 

Started Saturday, Sept. 13 — Coast to Coast 


Of all the thousands of recordings of our compo- 
sitions released by VICTOR , during our long and 
extremely pleasant association, none has thrilled us 

so much as . ■ j. 

MARIA MY OWN 

By ERNESTO LECUONA and L. WOLFE GILBERT 
Magnificently Sung cn Victor Record 20-4960 

by 

Jan Peerce 


Hugo Winterhalter’s Orchestra 



Congratulations and Best Wishes 


■ ^Television Series 

OLD AMERICAN BARN DANCE 

Kling tV-Studios-Chicago, III. 


Latest 

RCA VICTOR RECORD 

Release 

"A Mighty Pretty Waltz" 
b/w "Two Faced Clock" 
#20-4883 



Available 

Standard Transcription 
Library Series 

HOLLYWOOD • CHICAGO • NEW YORK 

THANKS for another HIT 

By the Writers of "Slow Poke" 

“YOU BELONG TO ME” 


Personal Management 

ASSOCIATED BOOKING CORP. 

745 Fifth Av«., Ntw York 


RCA VICTOR DIVISION 


on Its 


c> 


50th Anniversary 


THOMPSON, WEINMAN AND COMPANY 


52 Vanderbilt Avenue 


New York 17, N. Y. 



ywTncflJyf* October 1952 


PSriety 




LV 


X 


~r/j 

1 / 


r 


9 


OK RECORDS its 

RCA VICTOR 


“HAPPY MOTHER GOOSE” 

“SONGS BY KUKLA, FRAN and OLLIE” 

“TOOIE TALK” and “THE CUCKOO” 

“KUKLA, FRAN and OLLIE AT THE COUNTY FAIR” 
“KUKLA, FRAN and OLLIE AND THE WISHING WELL” 


km 


JB 


and 












w 


ON TELEVISION IT’S 

RCA VICTOR 


BURR TILLSTROM’S 


TuffiLA 


* 




✓ 


an 




IE 


with FRAN ALLISON 


NBC-TV • SUNDAYS, 4 P.M., EST • for RCA VICTOR 


Music by 
Jack Fascinato 


Produced by 
Beulah Zachary 


Directed by 
Lewis Gomavitz 


Costumes by 
Joe Lockwood 


"Wednesday, October 1„ 1959 


Wf» „ w ^ 

•XvX'NKvvrrAVl'lv.V*.* 

.'/o •; 

►X^v<»r«V« '•'«•.'»•.* y p y,» 





Congratulations to 


RCA VICTOR 


On Its 


50 th ANNIVERSARY 


DENNIS DAY 



MILLS MUSIC salutes RCA VICTOR RECORDS 

Currently Riding High with 

BLUE TANGO 

HUGO WINTERHALTER - FRANKIE CARLE 
TONY B AVAAR ( VOCAL) 

2 Great Records by Lisa Kirk 

IF YOUR HEART IS BREAKING 

(Like My Heart Is Breaking) 
and 

HOW COME YOU DO ME LIKE YOU DO 


FATHERTIME 

Sunny Gale 

MILLS MUSIC-RCA VICTOR ARTISTS— SOLID ENTERTAINMENT 

* 

RED ROSES FOR A BLUE LADY— Vaughn Monro* • DON'T WORRY 'BOUT 
ME— Savannah Churchill • PLINK, PLANK, PLUNK— Thrf* San* • TAKE 
ME JN YOUR ARMS— Don Corn*ll • PAYANNE— Boston "Pops" Orch. * 
DREAM OF OLWEN — Melachrtno • SLEIGH RIDE— Three Suns. Freddie 
Martin, Boston "Pops" Orch. • WHEN YOU’RE SMILING— Perry Como • 
STORMY WEATHER— Fran Wc^ren • BUBBLE, BUBBLE, BUBBLE — Henri Rent • 
STAR DUST— Arti* Shaw • SYNCOPATED CLOCK— Boston "Pops" Orch., 
Three Suns • JAZZ PIZZICATO— Freddie Martin • DIZZY FINGERS — Three 
Suns • SOPHISTICATED LADY— Dinah Shore • SYNCOPATED CLOCK— First 
Plano puartet • WINTER SUNSHINE— Melachrlno • RIYERBOAT SHUfFLE — 
Tex Beneke • FIDDLE-FADDLE— Freddie Martin • GUARACHA— Wittemore 
A Low* • ORGAN GRINDER’S SWING— Ford Nelson 9uart*t • CARAVAN— 
Luis Arcaraz • CARRY ME BACK TO THE LONE PRAIRIE — James Melton • 

I CAN'T GIYE YOU ANYTHING BUT LOYE— Buddy Morrow • MISTAKES— 
Dennis Day • MARGIE- Oscar Peterson • DOWN BY THE STATION— Tommy 
Dorsey. 

MILLS MUSIC, INC. 

AMERICAN ACADEMY OF MUSIC, INC. 



















RCA VICTOR RECORDS 






mm me 



\ 



0 


A Sincere Tribute and Salute from the 
Composer*). W riters and Publisher 
w!vo make up The UMI I'aniilv 

BROADCAST MUSIC, INC. 



8 6 


Wednesday, October 1, 1952 




on 


RCA VICTOR 

Records 

Shooting HIGH with 4 GREAT SIDES 
on Best Seller Lists Everywhere 

I LAUGHED AT LOVE and 
FATHER TIME 

Coming Up FAST 

YOU COULD MAKE ME SMILE AGAIN 
and TOSSIN’ and TURNIN’ 


SUNNY GALE 


Direction ; MCA 



Broadcasting Daily 


vta 


NBC, Coast to Coast 


Exclusive NBC Artist 



Exclusive RCA Victor Artist 

Personal Management: M. GALE, 48 West 48th Street, New York City 




MUSIC CORPORATION 


,* of 

M it RQBB1NS 

LEO FEIST, INC. 

% miller music corporation 

-ft UON MUSIC CORPORATION 

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neaday* OdoW 1, 1952 


Pj&zTETy 




w 


SALUTES 


RCA VICTOR 


ON ITS 


50th ANNIVERSARY 


Management 

M. C. A, 


Public Relations 

JOAN O'BRIEN 



Wednesday, October 1, 1952 


v.'.v.y/M'.v 

' S y*y > s 




RCA VICTOR Records 

Watch for Newest Release 

BEFORE YOU KNOW IT CHRISTMAS WILL BE HERE 

RFD MUSIC, INC. 


For All Personal Appearances 
CALL JUdson 6-2677 
WRITE 146 West 54th St., New York City 



Sa 

RCA VICTOR Records 

Half Century of Success 

Currently 

OUTSIDE OF HEAVEN 

EDDIE FISHER 

LUNAROSSA 

TONY MARTIN 


BREGMAN, VOCCO and CONN, Inc. 

NEW YORK - CHICAGO - HOLLYWOOD 


PAUL TAUBMAN 

Pianist • Organist • Conductor • 


MUSICAL 
DIRECTOR 

BOB and RAY SHOW 

PERRY MASON 

TRUE DETECTIVE 
MYSTERIES 



rlflpQGtiHJ, and Broadcasting Nightly Via NBC and th« Mutual Networks 

FROM HIS 

[W 30 Central Park South, New York 

RCA VICTOR 

RECORDING ARTIST 





Wednesday, October 1, 1952 




Qc^mluLdia h& To RCA VICTOR On Its 

50th Year 


Thanks for the fourteen happy years 
with you and these many happy recordings 


My First "SLEEPY TIME GAL 







"INTERMEZZO" 

"CONCERTO IN B FLAT MINOR' 

by Tschcrikowsky 

"HUTSUT SONG" 

"WARSAW CONCERTO" 
"BUMBLE BOOGIE" 

r 

"SYMPHONY" 

"CUMANA" 

"COME TO THE MARDI GRAS" 

"MANAGUA NICARAGUA" 

"I'VE GOT A LOVELY BUNCH 
OF COCOANUTS" 


My Latest "YOU BELONG TO ME" 

"AIN'T IT GRAND TO BE 
BLOOMIN' WELL DEAD' 


"SINNER OR SAINT" 

"A GOOD USED HEART" 


FREDDY MARTIN 

Currently at 

The Qoc&anut Qwwe 

Ambassador Hotel, Los Angeles 






92 




100 Disk Jocks Control Music Biz 

— - ■ ■ Continued from page 73 ~ 


Wednesday, October 1, 1952 


these 100 deejays, no song can be 
a major song, no artist can remain 
a major artist, and no new per- 
former can become a new name. 
If this 100 can create a Johnnie 
Ray overnight, by the same token 
they can destroy a star overnight. 

If these 100 disk jockeys plug a 
new performer who is a real talent, 
they speed up his acceptance by 
the public to a terrific degree. If 
they drop an established name 
(whether the reason be grapevine 
hearsay, or bad taste on the part 
of the artist in his public behavior), 


then slowly but surely that artist's 
days are numbered. 

Of course, it has to be accepted 
that these 100 major performers do 
not consciously act in unison, but 
it also has to be accepted that 
somehow, whether because of trade 
papers, music men, record distribu- 
tors, or, as is probably true, a 
combination of these factors, over 
a period of time they seem to re- 
act to the same toward tunes, art- 
ists etc. 

Such power so concentrated 
means that certain evils are pres- 


PfttelETY 

ent* in the disk jockey business 
that are harmful to the individual, 
and to the group of performers. 
Much is written and mentioned 
about payola — the gratuities per- 
formers receive for doing certain 
favors for performers, record com- 
panies, record distributors, pub- 
lishers, song writers, etc. That 
payola is very real and very pres- 
ent, is, of course, obvious. That 
it is possible to buy a hit or make 
an artist by payola, is, by the 
same token, ridiculous. The per- 
former has too much at stake to 
risk it by plugging a dog, whether 
it be artist, song, or product. This 
self interest is natural, and keeps 
the music business, and show busi- 
ness in general, relatively honest. 

The real discrimination to be 


practiced by the name jock, or the 
semi-name performer, is: when a 
gift or gratuity is extended in re- 
turn for specified favors and activi- 
ties, that gift is not acceptable. 
When, because you are a per- 
former and many people want to 
use you as a natural means of ex- 
ploitation for their product; then 
the dinners, the Xmas gifts, the 
presents for the kids, etc., are a 
natural part of doing business, of 
establishing contacts, and of build- 
ing relationships. They are no 
more reprehensible in the music 
business than in the steel business 
or the garment business, and no 
one in their right mind can con- 
demn this activity. It is simply 
normal business behavior. 

The self interest that a disk 
jockey must have is also obvious. 
His responsibility is first to the 
audience. His importance in the 
music business is directly propor- 
tionate to the amount of audience, 
and total influence he has. His 
national reputation is based on his 
ability to do certain things in a 
highly concentrated market. Let 
this audience wane, and the con- 
tacts, the favors, and the impor- 
tance wane proportionately. This 
is an obvious, inescapable fact 
Everyone goes with a winner. 
This doesn’t mean that you can- 
not make friends and keep them, 
regardless of your importance or 
influence. It does mean that 
everything that you do as a per- 
former must be based on self in- 
ter4pt to maintain yourself as a 
top pereformer. 

J Professional Integrity 1 

.For example, Tony Bennett is 
one of my closest friends. Intel- 
lectually, musically, socially, we’re 
friends. When A1 Martino’s 
record of “Here in My Heart” 
was released, it was an immediate 
smash in Cleveland. Then Ben- 
nett’s record came out. Now, to 
plug his record simply because he 
and Mitch Miller and Percy Faith 
are my friends would have injured 
me, I felt, as a performer in this 
area. Logically, I played Mar- 
tino’s record. This had no influ- 
ence on my relationships with any 1 
of the above people, because *it 
was based on something apart 
from the music business. I am 
still good friends with all of them, 
and I am relatively unacquainted 
with Martino. You have to go 
with a winner. 

People talk about good songs 
and bad songs, good singers and 
bad singers, good groups and bad 
groups; there is no such thing 
in the music business. There is 
success or nc success. There are 
varying degrees of quality in the 
music business, but these are not 
to be confused with commercial 
acceptability. A great song quali- 
tatively may not sell; hence, for 
the music business as a commod- 
ity, it is not good. The fact that 
a great song or artist Will com- 
mand a public of Its own and will 
have meaning in the society is, 
highly important to American cul-. 
ture, but has nothing to do with 
the music business. 


AN EGG THAT STARTED 
A RECORDING TEAM 

Thirty-odd years ago A1 Bernard 
and Ernest Hare were one of the 
most popular comedy teams on 
wax. The partnership got off to an 
odd start — all because Hare, who j 
lived in a downstairs apartment, 
yelled up a dumbwaiter shaft to J 
his upstairs neighbor, Bernard, to 
lend him an egg. ‘ | 

Looking down, it struck Bernard 
that Hare looked something like 
'*• - returned- -soldier- standing- be- 
neath a window and mooning up 
at his girl friend. That inspired A1 
to write a blackface comedy sketch, 
“I Want to Hold You in My Arms,” 
which he and Hare recorded for 
Edison. Platter was such a hit the 
pair made others in a similar vein 
for most of the record companies 
of period. Boys always blacked up 
for recording dates and frequently 
were so funny with their patter 
that orchestras couldn’t play for 
laughing. 

Hare teamed up in 1921 with 
Billy Jones as “The Happiness 
Boys, ’ most popular singing duo 
of early radio days. He died in 
1939, Bernard passed 10 years 
later, after having devoted his en- 
tire career to blackface humor. 


Irwin Scott's New Orch 
e San Antonio, Sept. 30. 
Irwin Scott, who had played 
^ Uie pit orchestra 

at the Texas Theatre, has organized 
- a new dance band here, 
i It’s made up of local musicians. 


Tenor Took Cash 
Over Victor Stock 

Although Enrico Caruso’s Victor 
Red Seal records gave the greatest 
impulse to popularizing “classical” 
platters, he was not the first well 
known tenor to perpetuate hi s 
voice in wax, 

That distinction, from a commer- 
cial standpoint, probably should go 
to Feruccio Giannini, who died in 
1948, aged 79. In Victor’s early 
days, Giannini, father of Metop 
thrush Dusolina Giannini, was 
asked to make a' record. As pay- 
ment lie'qpuld take either a block 
of stock in fledgling company or 
$100 real money. Like some other 
well-known artists, Giannini de- 
cided the phonograph might be a 
passing novelty. So he took cash. 

Giannini had previously record- 
ed in 1896 for Berliner’s 7-inch 
platters, forerunner of Victor. He 
also made more for Victor as well 
as some Columbia disks. Among 
Victors is a curiosity: • a “Miser- 
ere” from “Trovatore,” with Gian- 
nini singing the tenor role of 
Manrico, and Leonora’s soprano 
responses by a cornet! Accom- 
paniment is by the “Royal Marine 
Band.” Another “Miserere” ver- 
sion had the soprano part sung bv 
“Miss Merilees,” but still with 
Marine Band backing. 


Aussie’ s Peter Dawson 
All-Time Disk Champ 

To find the all-time most con- 
sistently popular recording artist 
you have to go overseas. There’s 
little- question that the honor be- 
longs to Peter Dawson, 

This Australian-born bass-bari- 
tone came to England in 1904 at 
the age of 20, Almost at once he 
began to make records — at first for 
nearly every company but after a 
few years exclusively for Gramo- 
phone (better known today as H. 
M. V.). And Dawson has been mak- 
ing records ever since. He has 
never had a big cJollowing in the 
U.S., but throughout the British 
Empire his popularity has never 
flagged. 

Today the irrepressible Pete 
Dawson, whose practical jokes 
used to drive his fellow artists al- 
most beserk, is one of the world’s 
champion commuters. He spends 
part of his time in England and 
part in Australia, where he helps 
run a canning factory inherited 
from his father. When he is about 
to leave for his home /country he 
makes enough records / to provide 
for regular releases until he re- 
turns. But if anything should hap- 
pen to keep him in Australia long- 
er than he expects, he can always 
do some recording at H.M.V.’s Aus- 
tralian branch. The Empire must 

have its Dawson ditties! 

- 


Congratulations on Your 
50th ANNIVERSARY 

I'm happy to 'be a part of 
the RCA-VICTOR Family 



SHEA 

Hour of Decision 
Radio and TV ABC Sundays 

Soloist 

BILLY GRAHAM CRUSADES 

Press Relations 
ROBERTS & BRADBURY 
4335 Yucca St., HoHywaad 2t, Calif. 


GEORGE PAXTON, Inc. 

,»t« MOAOWAY • NIW VO«K«*.H 

September 12, 1952 


R.G.A . Victor 
630 Fifth Avenue 
New York, N. Y. 

Gentlemen: 

C0NGRA T^p^EL^TBA^W^^LArBD 

war « cojrwzsirrrirj « ro«» 

great parade of .hits thru the years. 

When we first went in b usinessin^ 

1949 Tony Martin recorded THERE S 
NO TOMORROW " and Hugo Winterhalter 
recorded "COUNT EVERY STAR". Both 

WERE BIG HITS. 

* J 

J Txr 1Q50' THERE WAS PERRY CoHO f S 

l*T wanna GO HOME" and Ralph Flanagan’s 

’’WHAT, WHERE AND WHEN . 

In 1951, we had Freddy Martin’s 
” NEVER BEEN KISSED- an d_ April _ 

Stevens’ "AND SO TO SLEEP AGAIN . 

And now in 1952, we 
a hit record with Eddie Fischer s 
" THAT’S THE CHANGE YOU TAKE and 

z JZVrKZ’i '"mem lomone 

Fssiif "• 

r„, „*»»», .*.** conouwunom ... 

MANY THANKS TO ALL OF YOU » — ■ 

Sincerely. 



GP:bm 


GE01 


PAXTON 






Wednesday* OctoBer 1* 1952 


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BAND OF AMERICA 


W'X'X’X'W'WS 




RCA VICTOR 
RECORDING 
ARTISTS 


Electronic Engineers Work Years 
Ahead of Present Standards; Result 
Is an Ever-Improving Phono System 


In the research laboratories of 
the RCA Victor Division, Radio 
Corporation of America, phono- 
graph engineers and sound special- 
ists work years ahead of market 
needs, perfecting better products 
for tomorrow. 

From these laboratories and 
those of the Victor Talking Ma- 
chine Co., predecessors of the pres- 
ent organization, has come a rich 
flow of new developments and im- 
provements which have contribut- 
ed significantly to the refining of 
the recording art. 

* And yet, although the new 45 
rpm and 33Vfi rpm records rep- 
resent the high-water mark of 
progress in the art, the research 
program in the laboratory has not 
slackened. This endless quest for 
something better is a heritage 
from Eldridge R. Johnson, founder 
of Victor, who, decades ago, wrote: 

“The Victor Co. is now in pos- 


session of many patents and secret 
processes, but our greatest secret 
process is this: ‘we seek to irfiprove 
everything we do every day.’ Just 
as soon as a certain improvement 
is secured, the experts in the or- 
ganization are set to the task of 
making something new that is bet- 
ter than the last improvement.” 

So successful was Johnson in 
taking the “bugs” and kinks out of 
Emile Berliner's gramophone that 
he was given a contract to produce 
thq machines .for the Berliner 
Gramophone Co. 

|' Firsts j 

However, Johnson continued 
with his own experiments. He de- 
veloped the first spring motor for 
a disk-type talking machine. The 
motor assured a constant turntable 
speed, could be regulated, was 
quiet in operation, and was easy 
to make and use. Above all, he 


PSssmT? 


developed ft new disk-type record 
which was superior to any record 
then on the market. 

Among the most important of 
Johnson’s early contributions to 
the recording art was his devel- 
opment of a new recording 
process. This process pointed the 
way to the mass production of top- 
quality copies from a “master” rec- 
ord. Under the Johnson process, 
the recording was “cut” in a wax 
disk. The platter, in turn, was de- 
veloped into a metal plate by a 
delicate electroplating process. 
Records produced by this means 
had a* performance quality far 
superior to any other records on 
the market. 


Another Milestone 


The year 1925 was a milestone 
in the art of sound recording and 
reproduction — bringing both elec- 
trical recording and the Ortho- 
phonic Victrola phonograph. With 
electrical recording, the micro- 
phone replaced the recording _horn. 
The recording stylus was actuated 
by electrical impulses, not sound- 
waves. High and low frequencies 
never before heard on records 
were successfully recorded. A new 
era of recorded sound had begun. 

One year later, however, sound 
engineers developed electrical re- 
production, which sounded the 


Wednesday, 0clol>er 1 f 1952 


Congra 


tulati° ns 


on your 


VICTOR Records 

GOLOtd RIMITE 


ft* 





y/w\ 


SAM FOX PUBLISHING COMPANY 

RCA Buildinq^- Radio City - New York 20, N. Y. 
CHICAGO • HOLLYWOOD 


Sumo nt? ei ' $*££££ Vogue for Name Bands 

'electrical. waarrewall- A* Disk Sdfen 

Changes continued In the record- v- JL. J Af£ l m > 

ing art. Needles gave way to more lUCK6U UII Dy OOS 

vSr^ftbnany^marketed ^the The name band biz, as a big-sell- 

first instrument capable of playing ing record feature, is usually con- 

mbre than one record without ceded to have started with Paul 
manual change. The age of auto- W hiteman’s fi r3 t Victor platters in 
matic changers had arrived. thg 192Qs< 

thJutett of man y y St si”nific P a r nt e ?d- During the decade preceding, 

vances In the recording art. It of- dancing at home to talking ma- 

fers the first phonograph record chine music had been a popular 

and changer literally made for indoor sport, but most records 

each other the first record made were played by phono company 

?n a single size for all classifica- house bands. Nearly all Victor 

tlons of music; a changer that Is dance platters from 1912 to 1917 

half the size of conventional were by the Victory Military Band 

models and requires approximately (a convenient disguise for Sousa, 

25% fewer parts; a new high in Pryor and Conway bands). Then 

operating efficiency. outside groups such as the Original 

, _ . , at t of ppa'q Dixieland Jazz' Band, Ted Lewis 

n Research Center Jazz Band » Lopez & Hamilton's 

David S ar n°« Resei arch Center, Rings Qf Harmony, Earl Fuller - S 

scientists ts P Manv of Jazz Band and Jose P h C. Smith’s 

These experiments are' conducted Orchestra began to be waxed 
in what is said to be the “quietest But Whiteman really kicked off 
room in the world,” a laboratory the big band biz boom when Vic- 
so completely devoid of sound that tor a.&r. man, late Eddie King, 
a person in the room can hear his heard his troupe play at Atlantic 
blood coursing through his veins. City. It took almost a whole day 

From this room and other labo- for the boys to make their first 
thA Pndin Corn of platter — a 12-mcher of “Avalon” 
A a !i°irfp S a ami its RCA Victor P Divi- and “Dance of the Hours” from 
fiTn wn To^nfe to come th'e ••Ginconda” Not being used to 
sound products of the future. Such recording, their nerves were on 
progress has marked the history edge and every time anything went 
of the phonograph and record in- wrong somebody exclaimed 
dustry ever since Edison waxed “daqin!"— thus ruining the record. 
“Mary had a Little Lamb” in 1877. Once initial nervousness was 
— over, “Pops” and the boys got re- 

rifiJlf 1 !? CDUMCCD riPCT cording techniques down pat, and 
uKALfi iJI fcliljjll I* mol seldom took more than two hours 

FEMME CHIRP ON DISKS The late great diva Nellie Melba 

-• i - 4 . «... on used to relate a similar incident. 

1 qS^TiRiETY b sai(? “Mr^Grace The s °P rano said that > stepping 
1952, Variety said. • back from recording horn to take 

Spencer Doolittle, 80, forme i ^ g a note< ghe exc i a i me d “damn!” 

er V dled , Aug - in • i and the horn drank in this unseem- 

Bem u 1S f nSr b\t speech with all the clarity of a 

those who know early P la ^e recording angel. Melba’s mood 

tory. Grace Spencer was first w - wasn ^ an g e iic when she had to 
an to be personally recorded by make record oyer 

Thomas A. Edison for his brown 

’wax cylinders and believed herself 

before her death she recalled. SOUR NOTE THAT MADE 

“I know I was the first woman II AWC VfiW Dill AW PAINT 

singer to sing for Mr. Edison. After tliiiiij YUfll DULU If I 1 Alii 1 

father and I lunched with him and Musical celebrities of the ‘90s 

his wife, he took us all over to his use( j v j s it Edison's laboratory 
recording room, where under his anc j experimental records 

supervision I made a just to get an idea of what they 

first female record there. That, I soun ded lik'e. 
find, from my journal of events, . . . ........ 

was the fall of 1897. After that, Amusing s ory is told of visit 

Mr. Child of the Victor Co. sent ° f Ge ™* n P ianist ' Han * von ? u : 

for me ” ' low. Tlie Sreat man condescended 

Miss' Spencer, who retired after t0 . a cylinder of his pianistic 
marrying Dr. Willard Foster Doo- virtuosity. Result didn t sound 
- little, sang for several years in the much like a piano, which came out 
Lyric Trio with Harry Macdon- ln ‘ hose days like a cross 

ough, tenor, and William F. Hooley. between a ban 3 o and a zither, but 

_J it was good enough to show he had 

T 1 ’ . nr. L ip ft played a wrong note. 

rirst Victrola torner in When the recording director, 

iin •* it n m f L Theodore Wangemann, told von 

White House r res. latt BuIow he had made a Slip, the 

-j 4 . vK-iii m ii 4 . virtuoso refused to believe it. He 

. , slde ? 1 ^ William H. Taft was was p eev j s h a bout even a s.ugges- 
the first American President to go tion * f such an impossibIe thing. 

I" a „ blg ,™ y ’ But when the roller was played, 

In 1910, Mr. Taft installed a Vic- and ar ti s t himself heard the wrong 
trola corner In a room of the notCi he falnted! 

White House, and the Victor Co. Wangemann, Incidentally, toured 
made considerable use of the fact Europe for Edison and made many 

m n! t «? <iv 5 rtlslng V -ii -v recordings for the inventor’s pri- 
Tafts Democratic rival in the vate collection . Several plan0 solo* 

1908 campa gn, William Jennings which he recorded b y Johannes 
Bryan, also loved phono music but Brahms turned up in Germany a 
? Edison Diamond Disk few years ag0 ft an g em ann was 

p at b usi a st - His daughter, Ruth kiu ed wben struck by a Long Is- 
Bryan Owen, later ambassador to land train in 1906 . 

Denmark, acquired her fathers 

love of reproduced sounds and dur- __ , 

ing her travels with a Chautauqua Mooney Back* With Glaser 
in the 1920s made a practice of Art Mooney has returned to Joe 
visiting music stores along the way Glaser’s Associated Booking Corp. 
and listening to the music of the after a term with Music Corp. of 

Or.thophonic .Victrola r ..Uie -Colum*. America, 

bia Viva-Tonal and the Brunswick Mooney signed with ABC for ft 
Panatrope. five-year ppriod. 


SOUR NOTE THAT MADE 
HANS VON BULOW FAINT 

Musical celebrities of the ‘90s 



Greetings from 


AL GOODMAN 

Recording Exclusively for RCA VICTOR 

ffs been wonderful being associafed with you in making so many 

ageless albums of show and movie scores. 



Wednesday, October 1? 1952 


Pfikl^TY 


RECORDS 


95 


Rachmaninoff in the Middle; 
Edison’s ‘Cute’ Ads Vs. Victor 

The story is probably apocryphal, but there's a legend 
that when Sergei Rachmaninoff had his first recording 
engagement for Edison Diamond Disks he played the open- 
ing bars of Liszt’s Second Hungarian Rhapsody in so 
subdued a fashion that they didn’t ‘‘take.” The recording 
engineer wanted the great man instructed to play a little 
louder, but everybody Stood in so much awe of “Rocky” 
that no one wanted to approach him. Finally, a hard- 
boiled gent volunteered for the assignment. He walked 
into the recording studio, tapped the celebrated composer- 
pianist on the shoulder, and — according to the story — 
said something at which Rachmaninoff grinned broadly 
and began giving with more volume. 

After a successful record had been achieved, the im- 
perturbable citizen was asked what tactful approach he 
had used to make the virtuoso hammer harder. He replied : 
“Oh, I just sez, ‘Say, you damn Roosian, play louder’!” 

As related elsewhere, platter companies have a notorious 
objection to giving plugs to the opposition. Conspicuous 
exception is recent action of makers of Remington long- 
players “welcoming” Victor’s new lower-priced Bluebirds 
to the LP field as a move toward bringing price of the 33’s 
down to a “more reasonable level.” 

Edison did the same thing, but from a different motive* 
after Rachmaninoff, who had been exclusive to Edison, 
signed up with Victor. Magazines carried full-page ads 
showing pianist at his Steinway, playing in direct compari- 
son with New Edison to prove there was “no difference” 
between Edison recorded music and the artist’s Q.wn play- 
ing. Ad contained a gimmick to this effect: 

“We are glad to announce that Rachmaninoff has also 
made records for one of the standard talking machines. 
We invite comparison. Hear Rachmaninoff at any Edison 
dealer.” 

This, of course, was an implication that the Edison 
piano recording was 'better than Victor and it brought a 
rejoinder from Victor that Rachmaninoff signed an exclu- 
sive Victor phet • only after an extensive test of “other 
reproducing mediums.” 

Another stunt Edison used to disguise its chagrin- at 
losing its greatest pianist was to advertise an open letter 
from Thomas A. Edison to Rachmaninoff, recalling that 
R.’s Edison contract provided the company would not pay 
royalties on the sale of his Edison disks if he afterwards 
recorded the same selections for any other firm. 

However, Mr. Edison generously said, in effect, he was 
so pleased that the public would have an opportunity to 
compare his recording processes with those of the “talking 
machines” that he would waive the contract stipulation 
and pay those royalties, anyway. He urged Rachmaninoff 
to play for Victor the same numbers he had made for Edi- 
son, “so the public may decide for itself.” 


Servicing the Record Dealer 

By WILLIAM I. ALEXANDER 

Advertising and Sales Promotion Manager 

The record business probably is the most consistently 
fast-moving business that exists today. 

The rapidly changing tastes of the music-buying public 
can make a new tune a smash hit overnight, and then can 
let it die just as quickly. If record companies do not have 
their merchandise shipments and promotion material 
geared to coincide with that brief period of. public de- 
mand, then they’re out of luck in the sales department. 

There is no other business known to me wherein the 
keenness of competition places such demands of imme- 
diacy and thoroughness on the manufacturer in getting 
dealer stores serviced nationally. 

We believe we maintain one of the most complete serv- 
icing organizations for dealers with respect to advertising 
and sales promotion. Annual polls of dealer opinion seem 
to back that belief. 

Our broad national advertising program uses radio, 
television and magazines. Radio programs are scheduled 
regularly, including a number of well-received syndicated 
features covering more than 600 programs. 

Record commercials are also included on “Kukla, Fran 
& Ollie” and the Dennis Day show on the NBC television 
network, and on the Phil Harris-Alice Faye show on NBC’s 
, radio network. 

Probably the most important single promotion in the 
field of radio is the Disk Jockey Service. Large lists of 
DJ’s receive Pop, Red Seal, Western, and Blues & Rhythm 
releases regularly. Timing of these shipments with the 
release of merchandise and growth in popularity of the 
tunes is a job in itself. 

Placement of space ads includes the show business pub- 
lications, music trade papers, large circulation consumer 
magazines, music books, and concert programs. 

i Beaucoup Tieup s 

Individually and through distributors, dealer stores reg- 
ularly receive a wide variety of advertising and promotion 
material. Window display service guarantees each dealer 
nine major displays a year, with . eight or nine bonuses 
usually thrown in. Counter merchandisers, monthly pop 
and Red Seal hangers, and weekly pop streamers are part 
of the dealer service, in addition to weekly bulletins. 

Each dealer builds up a cooperative advertising fund 
through sale of RCA Victor merchandise. He can use 
tins money for mailings or other promotions, or he can 
make use of newspaper mats provided through our dis- 
tributors, with RCA Victor footing part of the bill. We 

also provide TV commercial and radio spots for dealer 
use. 

Personal appearances by artists are usually planned in 
connection with concert tours by the artists, and in each 
case result in tremendous sales of the particular avtist’s 
records. 

More than 2,000 dealers receive each month RCA Victor 
numerical catalog listings. Unique in the business is our 
Anisic America Loves Best” catalog, 5,000,000 copies of 
vluch are provided for consumers through dealer stores. 
p U( ‘ 1 . an all-encompassing program naturally presents dif- 
intllios, but not because of the size of the undertaking. 
. <* chief cause of the problems that arise is -the very 
uuure of the business — the fact that it is so fast-moving 
, b ? "P^yed by ear.” 

nut that is also the chief reason it’s so interesting. 


Some Real Museum Pieces . 

Until after it was taken over by RCA, the old 
Victor. Talking Machine Co. retained the masters and 
matrices of every record. Even after a number had 
been cut out of the catalog for many years you could 
get a special white label pressing at a price depend- 
ing on the platter’s original classification. For in- 
stance, a single-faced pressing of a pop song or comic 
sketch in the black label series cost only 60c in the 
early 1920s. Later it was decided the special press- 
ing biz was too much time and trouble and the price 
was gradually hiked to $8. When materials became 
scarce during World War II, special pressings were 
discontinued. By that time nearly all the masters of 
old pop numbers and many of the classical Red Seals 
had been scrapped. 

However, a search through tha storage vaults of any 
long established company probably would bring some 
surprise discoveries. Just out of curiosity, an em- 
ployee of the Columbia plant at Bridgeport recently 
went through some apparent rubbish in a dark comer 
and made some finds. They included the master of 
Bert Williams singing “I’ve Such a Funny Feeling 
When I Look at You.” The comedian recorded the 
number on Sept. 29, 1906, but the master apparently 
had been stored out of place and missing for more 
than 40 years. 

The researcher also found unissued disk dubbings 
of two cylinders made by Pope Leo XIII in the 
Vatican on Feb. 5, 1903, and an unpublished “Address 
by Admiral Robert E. Peary Before Leaving for the 
North Pole,” recorded in New York July 13, 1906. 
(Incidentally, one of the rarest Victors is a talk on 
his “discovery” of the Pole, made by Dr. Frederidk 
Cook late in 1909 and yanked from the catalog a few 
months later after Cook was denounced as a faker.) 

It isn’t generally known that Bert Williams and 
George Walker made several Victor platters in 1901. 
Copies are almost impossible to find now. The Victor 
record catalog of the period said Williams and Walker 
were engaged at “the highest figure in the history of 
the talking machine business.” But it didn’t say how 
much! 


RCA’s Fort Knox of Old Masters, 
The Disk Kind, That Is 

i 

Camden, N. J. 

Sheltered behind *8-inch brick walls and guarded by 
uniformed patrolmen, a priceless treasure of master re- 
cordings of the world’s greatest musical performances — 
those of Caruso, Galli-Curci, Ruffo, Chaliapin, Paderew- 
ski, Rachmaninoff, and others — is preserved for present 
and future generations of music lovers. 

Here, also, are to be found the original masters of some 
wonderful old records that have nothing to do with music, 
like Will Rogers’, famous “Talks to Bankers” and “First 
Political Speech.” . 

The custodian — and owner — of this irreplaceable treas- 
ure is the RCA Viptor Division of the Radio Corp. of 
America, successor to the Victor Talking Machine Co., 
which made the records. The repository of the collection 
is quite aptly called the “Treasure Vault.” 

Out of this vault, RCA Victor has drawn a varied se- 
lection of the most representative recordings of music’s 
“Golden Age,” the ‘first quarter of this century, and re- 
recorded them for the company’s “Treasury of Immortal 
Performances” series. 

Behind heavy doors the vault is divided into two ad- 
joining rooms, each 30 by 90 feet Each room is filled 
by long rows of shelves, loaded with large brown en- 
velopes standing on edge. Inside the brown envelopes 
are flannel envelopes protecting the master recordings. 

Frank Scull, librarian, and his two assistants maintain 
a constant check on the library with a detailed card index 
system. There is* no room for mistakes in the Treasure 
Vault, because these original masters are more than just 
the property of RCA Victor. They are an important part 
of the cultural heritage of America. 

The oldest recording bears , the date Dec. 31, 1897, and 
the name R. G. IngersOll. It is a reading by the famous 
.Philadelphia lawyer of one of his famed essays. • 

Probably the most famous star of yesterday whose re- 
corded voice is preserved in the Treasure Vault is Enrico 
Caruso. Among, the 235. Caruso. roasters in the vault are 
some which have never been heard by the public. The 
oldest is “Celeste Aida,” from Verdi’s opera, transcribed 
in 1903. 

About 70,000 masters are kept in the vault. Several are 
recordings of the same music. Galli-Curci, for example, 
recorded Rigoletto’s “Dearest Name” 21 times before she 
was satisfied with the result. Counting the working mas- 
ters and the No. 2 masters, in addition to the originals, 
the library contains 278,000 recordings. 

Scull, who has been taking care of the masters for al- 
most 30 years, enjoys memories ot the days when he ran 
to fetch sandwiches, milk and coffee for McCormack, 
Schum&nn-Heink ^nd" Kreisler,- and -wondered why that- 
pianist, Paderewski, let his hair grow so long. 


Famous Victor Advertising 

From 30 to 40 years ago one of most famous adver- 
tising slogans was Victor Talking Machine Co.’s “Will 
There Be a Victrola in Your Home This Christmas?” 
Appearing in leading magazines several weeks before 
the holiday season, the ad made Victrolas move out of 
dealers' stock at a pleasantly profitable rate. 

Wording of ad, however, apparently was an after- 
thought. In one of the first 1906 issues i>£ the Sat- 
urday Evening Post, a back page ad queried: “Did 
you get a Victor for Christmas?” Company must have 
got hep to fact that post-Yuletide publicizing was poor 
tactics, so made the switch to the more protable 
inquiry. 

Through the years, Victor advertising was consist- 
ently more effective than that of most competitors. 
(It was also much more extensive.) One of its most 
unusual ads in Ladies Home Journal for December, 
1908, showed two Victors of old-fashioned horn variety. 
Both were filled with photos of famous recording art- 
ists. One machine contained the Red Seal galaxy 
(Caruso was sq important he was shown twice), and 
the other had popular singers, monologists, etc. 


First Recordings Of 
Jazz, Spelled Mass’ 

By JAMES L. SHAW 

Jazz, destined to revolutionize pop music for better or 
worse, according to point of view, made probably its first 
appearance in any record list in Victor’s May, 1917, sup- 
plement. Plattner No. 18255 combined “Dixieland Jass 
(that was the way it was spelled at first) One-Step,” with 
a foxtrot, “Livery Stable Blues,” both played by the 
“Original Dixieland ‘Jass’ Band.” Catalog Editor James 
E. Richardson commented: “The Jass Band is the very 
latest thing in the. development of music. It has sufficient 
power and penetration to inject new life into a mummy, 
and will keep ordinary human dancers on their feet till 
breakfast time.” 

Columbia’s first jazz mentions occurred in July supple- 
ment — two months after Victor. A vocal record, “Hong 
Kong,” by Elizabeth Brice and Charles King, was described 
as “a round trip ticket to lantern-lit Chinese gardens 
and the beauties of ‘Jazz’ land.” The word was spelled 
“jass” in the dance list, which began by asking: “Has any 
greater dance record ever been offered than the two ‘Jass’ 
song sensations, ‘Hawaiian Butterfly’ and ‘Hong Kong,’ as 
arranged and played by Prince’s Band?” But this coupling, 
played by the Columbia house band directed by Charles A. 
Prince was not a jazz record by present standards. 

Same Columbia list contained “It’s a Long, Long Tima 
Since I’ve Bfeen Home” and “Just the Kind of a Girl 
(You’d Love to Make Your Wife)” by an obscure group 
called Borbee’s “Jass” Orchestra. Combo consisted of 
two banjoists, violinist, drummer and pianist, and the thin, 
lady-like sounds it produced had no kinship with authentic 
jazz. 

Victor’s second ja2z platter, “Slippery Hank” and “Yah- 
de-Dah,” was played by Earl Fuller’s Famous Jazz Band 
(it must have got famous within a few months!), and there 
was a catalog reference to a top-hatted gent who is still 
right up there among the dance bandleaders. Said the anno- 
tator: “The sounds as of a dog in his dying anguish are 
from Ted Lewis’ clarinet.” 

Showing how rapidly jass/jazz was gaining popularity, 
there was also a vocal record by Arthur Collins and Byron 
G. Harlan of “Everybody’s Jazzin* It.” “Everybody Loves 
a Jazz Band” was another pop song of the time. 

Genesis of ‘Ragtime’ 

It’s hard to tell when word “ragtime” first entered 
record catalogs. Edison cylinder list for 1899 has a “Rag 
Time Medley,” consisting of “Mr. Johnson, Turn Me 
Loose” and “Oh, Mr. Johnson,” played by the ban joist. 
Ruby Brooks, of the vaude team of Brooks & Ginter, ,who 
died in 1906. Ragtime song listings are “Ragtime Liz,” 
“Rastus Thompson's Ragtime Cakewalk,” “The Ragtime 
Brigade Is Off to War” (the Spanish-American War, of 
course; the first World War inspired “The Ragtime Volun- 
teers Are Off to War” in 1917); as well as “You’ve Been 
a Good Old Wagon but You’ve Done Broke Down,” gen- 
erally considered one of the first songs to sh'ow a definite 
ragtime influence. 

First noted ragtime pianist to record was Mike Bernard, 
often termed the greatest exponent of the “white ragtime” 
school. Bernard played for Columbia from 1912 to 1918. 
One of his best was “The Battle of San Juan Hill,” in 
which he imitates bugle calls, cannon fire and assorted 
battle noises by means of his keyboard virtuosity. Felix 
Arndt came along for Victor in 1914. A few brown wax 
cylinders exist of "An Assortment of Rags” apparently 
played in the late ’90s by one Robert Hockett, who finishes 
with a flourish and a laugh. In recent years player piano 
rolls by Scott Joplin, James Scott and other Negro ragtime 
masters have been recorded and issued by Circle Records. 

Perhaps most outlandish ragtime stunt ever achieved 
by a platter pianist was done by Melville Ellis on a 1912 
Columbia. He combined “Alexander’s Ragtime Band” with 
snatches of the “Fire Music” from Wagner’s "Walkure.” 


Victor’s ‘Coney Island Crowd’ 

In pre-electric era, Victor recording artists agreed that 
they fell into three fairly- well-defined groups. 

Those making black label records of current hits and 
dance tunes often referred to themselves as “The Coney 
Island Crowd.” The term was suggested by a talk made at 
a meeting of Victor distributors and artists by the late 
Calvin Child, then head of the company’s Red Seal activi- 
ties. Child urged distribs to concentrate onjselling high- 
brow platters “and try to get the public away from the 
Coney Island stuff.” Pop artists’ ruffled feelings were 
somewhat soothed when prexy E. R. Johnson arose to 
say he felt the crack about Coney was uncalled for. He 
pointed out that if it were not for the profits Victor 
■ made from pops it couldn’t afford, to absorb losses on., 
many of its Red Seal contracts. Pop crowd then adopted 
generic title of “Coney Island Crowd.” 

Next in line up the ladder were the performers who ap- 
peared on the single-faced purple or double-faced blue 
label disks, sold at a slightly higher price than the black 
pops. They specialized in “standard” recital and con- 
cert numbers, but also appeared, under disguised names, 
on the black labels. These performers, of whom Elsie 
Baker, Olive Kline, Lucy Isabelle Marsh and Lambert 
Murphy were typical, had got much of their training by 
singing in church choirs. Tenor John Young and baritone 
Frederick Wheeler also recorded duets of gospel hymns 
for all the companies under the aliases of Harry Anthony 
and James F. Harrison. Young, aged 81, still lives in 
New York, but Wheeler died a couple. of years ago. 

The third, topflight group was the Red Seal con- 
tingent, often referred to as “the Red Sealers” or “the 
Real Singers.” Mostly foreign-born, in contrast to the other 
two groups, they were headed by Caruso as operatic 
tenor and John McCormack as balladeer. 

Although the line of demarcation was clear, there was 
a fraternal feeling, and the three “classes” mingled in- 
discriminately at the Victor lunch room in Camden, where 
a standout comic was likely to be seen telling the great 
Enrico how he’d always had a secret longing to sing 
“Otello,” while Caruso confessed he’d give a lot to be 
able to warble comic songs as, well as his table mate. 


96 


RECOKBS 


PfiSziETT 


Wednesday, October 1, 1952 


Record Industry's 75th Anni 

i 1 - 1 Continued from page 1 t— -- 


ly pursued this philosophy in his 
advertising campaigns. Net result 
of his enterprise was to lift the 
instrument out of the nickelodeon 
stage and make it the great new 
medium of show business that it 
is today. Edison, who much later 
became known as the “Wizard of 
Menlo Park,” and . was probably 
most famous man in world when he 
died aged 84, in 1931, was only 30 
when the idea of recording and re- 
producing sound first occurred to 
him in 1877. Previously, unknown to 
him, other men had played with 
the idea. Leon Scott, a Frenchman, 
made a device in 1857 which he 
called a phonoautograph. It looked 
a lot like Edison’s first try at mak- 
ing a phonograph. You spoke into 
its “funnel” ’and a pig’s bristle 
scratched wavy lines on a cylinder 
coated with lampblack. Twenty 
years later, another Frenchman, 
Charles Cros, wrote an article the- 
orizing on how it might be possible 
to make the “phonoautograph” re- 
produce sounds. ' But Edison had 
never heard of Cros’ ideas when 
he hit on the reproducing notion,, 
and neither Scott nor Cros ever 
took practical steps toward making 
their Gallic contraptions “talk.” 

The home-entertainment possi- 
bilities of Edison’s cylinder-type 
machines were not immediately 
recognized. Chief role was as slot- 
machine amusement in barrooms, 
nickelodeons and penny arcades. It 
remained for Emile Berliners disk 
machine and its devlopment by 
Johnson and Victor to realize its 
potentialities as a iriusical instru- 
ment. 

Edison got the idea that he might 
obtain a playback of reproduced 
sound while experimenting on a 
device for automatically recording 
telegraph messages. With a disk of 
paper laid on a revolving platen, 
signals were embossed on paper 
and repeated at high speed. The 
sounds had an eerie, almost human 
quality and Edison decided that if 
he could record the movement of 
the diaphragm he could record and 
reproduce * the voice and other 
sounds. 

“Professor Edison,” as .newspap- 
ers then called him, drew a crude 
sketch of what he had in mind and 
told one of his aides, Swiss-born 
John Kruesi, to make it, at a price 
between $18 and $30. Kruesi didn’t 
figure it would work, and Edison 
didn’t expect to make a go of the 
first try. His machine consisted of 
a grooved cylinder around which 
tinfoil stiffened with antimony was 
to be wrapped; a holder with a 
sharp metal needle; a crank; a 
mouthpiece to speak into; and an- 
other mouthpiece, or “funnel,” 
through which the reproduced 
sound should emerge. 

Unsung Heroes 

]£ruesi worked for 30 hours with- 
out rest and with almost no food — 
he was almost as much a “sleepless 
wonder” as Edison — and on Wed., 
Aug. 15, 1877, the first phonograph 
was ready. Kruesi stood by, as did 
Charles Carman, foreman of Edi- 
son’s machine shop, who ..had bet. 
the inventor a box of cigars the 
machine wouldn’t work. Edison 
wrapped tinfoil around the cylin- 
der, set the needle at the begin- 
ning, and shouted “Mary Had a 
Little Lamb” into the mouthpiece. 
He reset the needle at the begin- 
ning, resumed his cranking, and 
the thing Squeakily repeated the 
saga of Mary and her pet. In some- 
what more human voices Kruesi 
exclaimed, “Mein Gott im Him- 
meli” and Carman snorted, in as- 
sumed disgust, “Well, I guess I’ve 
lost!” 

Sound of the original tinfoil 
phonograph, and others that fol- 
lowed, was frequently compared to 
that of ventriloquist’s dummy. 
Johnson’s first description of the 
sound of these early machines was 
that it resembled a “parrot with a 
bad cold in its head.” In fact, it 
sounded so dummy-like that early 
exhibitors were accused of produc- 
ing recorded sounds by voice- 
throwing. But, as bad as the re- 
cording was, the human voice for 
the first time in history had been 
repeated by a machine. 

Although Edison was already a 
famous inventor, he and his asso- 
ciates were hard up in 1877. One 
of them, Edward H. Johnson, de- 
cided to try to raise some money 
by lecturing in Northern and Cen- 
tral New York on Edison’s inven- 
tions. One night in Buffalo he men- 
tioned that Edison was working on 
a device to record sounds, and the 
next morning a paper came out 
with a headline that Edison had 


invented a “talking machine.” Thus 
was born the term, “talking ma- 
chine,” which Edison at. first ap- 
proved but later disliked and dis- 
owned. He always insisted that his 
Diamond Disk phonograph was no 
“talking machine” but “an instru- 
mentality for the re-creation of 
sound.” 

When news got around that Edi- 
son had made a machine that 
would talk, thousands of sightseers 
came to Menlo Park to get an eye- 
ful and earful, and the Pennsyl- 
vania ER ran special trains to haul 
the crowds. In December, 1877, 
Edison took the machine to the 
offices of the Scientific American. 
He had prepared a piece of foil 
containing the words, “Good morn- 
ing. How do you do? How do you 
like the phonograph?” Such a 
crowd formed that the floor was 
in danger of collapsing. 

Soon afterwards, Edison tempo- 
rarily switched from the cylinder 
to a disk machine and maintained 
its reproduction was “perfect.” His 
first patents, issued in January, 
1878, covered both disk and cylin- 
der recording by the hill-and-dale 
(vertical-cut) method. 

Emile Berliner’s Entry 

In 1888 another inventor entered 
the field — Emile Berliner, natural- 
ized American citizen of German 
birth, who had had a hand in per- 
fecting the telephone. He pi- 
oneered a machine he called the 
gramophone, differing sharply from 
the Edison wax cylinder-type in 
that it used flat disks. He did not 
obtain a U. S. patent until about 
1895, and two years later, brought 
one of his machines to Johnson’s 
Camden machinfe shop for repairs. 
Johnson was so fascinated with the 
gramophone that an immediate as- 
sociation was made with Berliner, 
laying the foundations for the Vic- 
tor Talking Machine Co. and, even- 
tually the RCA Victor organiza- 
tion. 

The word “Victor” did not ap- 
pear in the company until 1901 
when, according to one story, John- 
son felt that he had mastered the 
problems of the Berliner contriv- 
ance, and was happy and proud of 
his “victory.” In 1902 what, was to 
become the Victor dog was painted 
by Francis Barraud who eventual- 
ly sold the trademark to the British 
Gramophone Co., Victor’s English 
affiliate. Johnson got the Ameri- 
can rights to the trademark and 
the Victor company spent millions 
popularizing it. 

About 1878, Edison had given the 
New York World an amazingly pro- 
phetic interview. He told the re- 
porter the phonograph would be 
used for dictating; would be valu- 
able in teaching foreign languages; 
there would be “talking books” for 
the blind (he said 100 blind per- 
sons had already ordered phono- 
graphs in the hope that talking 
books were coming); there would 
be unlimited duplication of master 
records, and it would be possible 
to record a symphony on one rec- 
ord. 

Naturally, some of details of “the 
Wizard’s” prophecies bring a laugh 
today. He foresaw waxings of or- 
chestras by putting a phonograph 
inside a barrel with funnel sticking 
out through hole. He also estimat- 
ed cost of perfected phonograph at 
“about one dollar.” These ideas 
were developed at. greater length 
in an article life wrote in 1878 for 
the North American Review. Same 
year, Edison gave a demonstration 
in Washington for Congress and 
put on a special phonograph per-: 
formance in the White House for 
President Rutherford B. Hayes. 

Johnson, however, continued to 
make important technical improve- 
ments. In 1896 he was among the 
first to develop a practical spring 
j motor that could be regulated and 
was easy to operate. Thomas H. 
Macdonald, a Columbia engineer,’ 
is also credited with a similar in- 
vention. In that same year John- 
son focused his attention on the 
improvement of the record, and by 
1898 had developed a recording 
process that w.as vast improve- 
ment ovet previous systems, by 
providing greater volume and more 
lifelike tone. It was this high 
quality of Johnson’s recordings 
which eventually induced the 
world famous Caruso to sign up 
with Victor. The effect of Caruso’s 
step was to legitimize the machine 
as a musical instrument and to sig- 
nal the entrance of a host of other 
musical stars in the recording 
field. 

In 1903 Johnson developed the 


goose-neck and tapered tone arm. 
This permitted easy needle re- 
placement and saved record wear 
and breakage. 

In the fall of 1901, at Buffalo’s 
Pan-American Exposition, Victor 
won its first gold medal over all 
competitors. Before the year was 
out Victor boasted an organization 
of 10,000 dealers including the 
famous Chicago musical firm of 
Lyon & Healy. Acceptance by the 
world’s largest musical house 
greatly enhanced the commercial 
dignity of the business. The stories 
behind this triumph include an all- 
night session during which Johnson 
talked of the musical value and 
future of the phonograph. At the 
crack of dawn, Johnson sadly left 
the conference still with no firm 
commitment. The executives ap- 
peared loath to ally their dignified 
house with the small bicycle shops 
and hardware stores that were still 
the principal outlets of the phono- 
graph. By the next day, however, 
Lyon & Healy telegraphed John- 
son thqir acceptance of the Victor 
line. 

In 1906 Victor dramatically re- 
versed the whole field by enclosing 
the horn in the cabinet. Up to 
that time, exposed horns had run 
the gamut through big and little, 
tin and brass, pink and blue — all 
sizes, shapes and colors. The effect 
of this first enclosed-horn “Vic- 
trola” was to make the phonograph 
a piece of furniture for the parlor. 
Now, cracking the market for the 
first time, the Victrola was able to 
command a price as high as $200. 
This price notwithstanding, dealers 
found the timid, initial orders 
quickly snapped up. 

With Eldridge Johnson and his 
disk-type machine, first record 
made was of his own voice, a com- 
position titled “I Guess I’ll Tele- 
graph My Baby.” First record in the 
Victor catalog in 1903 was reci- 
tation of “Departure” by 
George Broderick, quickly followed 
by Burt Sheppard's “Limburger 
Cheese.” Victor’s talent at this 
time included the Metropolitan 
Orchestra, baritone S. H. Dudley 
and tenor Harry Macdonough. 

Famous Firsts 

Who was the first show biz per- 
sonality to be recorded?* ,-Well, 
Jules Levy, cornet virtuoso who 
died in 1904, was one of first. Dur- 
ing week of June 3-8, 11878, Levy 
played at Irving Hall (Irving Place 
and 15th St., N. Y.) in competition, 
or cooperation, with a phonograph. 
He would toot a tune into ~a fun “ 
nel and Edison’s “wonder box” 
would come back with a feeble 
caricature of a cornet tone. Others 
who gave demonstrations /were 
Emily Winant, soprano of St. 
Thomas’ Church, S. P. Warren, 
George Warren and Eugene Oud- 
lin. 

Edward M. Favor has already 
been mentioned. Old Edison cata- 
logs say he was “the first profes- 
sional to sing into a phonograph.” 
He also became probably the first 
professional recording artist. Fav- 
or’s recordings were exhibited in 
the lobby of the Park Theatre, 
Boston during a long run of “Ship 
Ahoy!” in which he played and, as 
may be imagined, attracted wide 
attention. Favor quit recording in 
1914,* but was a popular Broadway 
character actor until he died, aged 
80, in 1936. When he first caroled 
into the tinfoil, the long chain of 
progress and advancement — if 
that’s what it is — - from the cheer- 
fully obvious comedy of Ed Favor 
to the maudlin wailing of Johnnie 
Ray and other present-day croon- 
ers was on its way! 

Edison became absorbed with 
electric lighting problems and did- 
n’t experiment with the phono- 
graph for several years. But in 
1886, two Washington men, Charles 
Sumner Tainter and Chichester 
Bell, brought out an improved ma- 
chine that played wax cylinders, 
and Berliner, also in Washington, 
was experimenting with his zinc 
and vulcanite disks that sound as 
if they were recorded on a grind- 
stone. By 1890 the phonograph was 
beginning to be established as a 
penny-arcade attraction, “slot ma- 
chine parlori” came into wide use, 
and some record-playing equip- 
ment was sold for home perfor- 
mance. The North American Phon- 
ograph Co. had been formed, and 
granted leased permission for 
smaller companies 'to operate in 
various States. Columbia, for in- 
stance. got its n 2 me because, in the 
beginning, it was licensed for busi- 
ness only in the District of Colum- 
bia. 

Show business didn’t profit much 
at first by this invention. The first 
list of “musical phonograms” is- 
sued in 1890 by North American 



consisted of 16 performances by 
a brass band; 15 by “parlor or- 
chestra;” 16 cornet solos (probably 
Levy); 15 clarinet renditions; 10 
flute and 10 piccolo solos (most 
likely by Eugene C. Rose, still liv- 
ing at 86 in Freeport, L. I., who 
recalls making experimental flute 
records for Edison in 1889); 10 vio- 
lin recordings; Six “piano duetts;” 
and two vocal quartets of “Negro 
Melodies” and “Popular Songs.” 
There were no master “phono- 
grams” (the word “record” hadn’t 
come into general use), and the 
artists had to sing or play the dif- 
ferent titles oveh and oyer. The 
sound went into six or eight ma- 
chines at each performance, and 
the artist was paid as little as 50c 
or as much as a dollar a “round.” 
Sing 40 rounds a day, and you 
were in the money — for those 
times! 

For the first few years after wax 
records were marketed, turning 
them out was a monopoly of a 
handful of artists with voices or 
techniques peculiarly suited to the 
primitive recording methods. Most- 
ly vaude small-timers, they free- 
lanced, singing or playing for all 
comers, and included Favor; Dan 
W. Quinn, tenor singer of comic 
songs; George J. Gaskin, “The 
Irish Thrush;” Billy Golden, black- 
face comic of team of Merritt & 
Golden; George Graham, Washing- 
ton patent medicine street corner 
spieler who did “monologs on mar- 
ried life and other painful sub- 
jects;” Len Spencer, remarkably 
gifted comedian whose parents op- 
erated Spencerian Business Col- 
lege in Washington and who be- 
came first world-famous recording 
artist after making cylinders in his 
beginning days at 10c each; George 
W. Johnson, “The Whistling Coon,” 
Negro who made a living whistling 
and singing laughing songs on 
Washington streets; John York Att 
Lee, civil service worker who 
drove his neighbors nuts by mak- 
ing one whistling record after an- 
other at home after working hours; 
and “The Banjo King,” Vess L. 
Ossman. Levy continued to make 
cornet records and was such a 
celebrity Columbia charged $2 
each for his “rollers.” Russell 
Hunting’s “Casey” monologs were 
big sellers for the time, as were 
Cal Stewart’s “Uncle Josh” records 
a little later." 

Wishful Thinking v 

By 1897, the paucity and uni- 
formity of recorded talent was the 
cause of considerable comment and 
.many a raised eyebrow. In Janu- 
ary, 1897, the Universal Phono- 
graph Co., managed by Hunting 
but owned by music publisher Jo- 
seph W. Stern, was advertising: “In 
the last 10 years the record busi- 
ness has been handicapped by hav- 
ing only about 10 vocalists, three 
bands and a few instrumental solo- 
ists.” To remedy this monotonous 
situation, Universal, the ad con- 
tinued, was planning to offer rec- 
ords by “many famous vaudeville 
stars,” including Lottie Gilson, 
Bonnie Thornton, James Thornton, 
Sam Devere, Johnnie Carroll, Sam 
Bernard, Webber & Fields, Leona 
Lewis, Meyer Cohen, Lottie Morti- 
mer, Annie Hart, Maud Nugent, 
Allan May, William Jerome, Mar- 
garet Gonzalez, May Howard, Wal- 
ter Talbot-, La Porte Sisters, Ed La- 
tell, May Lowry, Gotham Comedy 
Four, Anna Willmuth Curran and 
John P. Curran. 

Whether these were ever issued 
is doubtful. Average stage star of 
those days didn’t know how to 
make good records and usually 
wouldn’t take the trouble to learn. 

Columbia began making exclu- 
sive contracts with popular record- 
ing performers in 1898, and cylin- 
der record production got a boost 
in 1901 when permanent masters 
came into use, making it possible 
to multiply production. 

Longhairs Big Impetus 

Operatic performances began to 
get a big play in 1902 when Colum- 
bia recorded Suzanne Adams, Mar- 
cella Sembrich and Edouard de 
Reszke. By this time Eldridge R. 
Johnson had acquired Berliner's 
patents and the Victor Talking Ma- 
chine Co. was in operation. Its first 
Red Seal records were imported 
from European affiliates, but when 
Caruso signed up exclusively with 
Victor in 1903 he gave the com- 
pany such an impetus in the “class- 
ical platter” field that it soon out- 
distanced all the competition and 
acquired a class supremacy which 
it has never lost. Symphonic music 
began to catch on when Boston 
Symphony first recorded for Victor 
in 1917. 

With mushrooming record sales 
not only stars of the Met but also 
such vaude and musicomedy not- 
ables as A1 Jolson, Nora Bayes & 
Jack Norworth and innumerable 


others gladly signed up for records 
although bulk of pop recordings 
continued to be made by artists 
such as Billy Murray, Henry Burr 
and Adh Jones, whose fame was 
primarily phonographic. Victor re- 
corded such luminaries as Ellen 
Terry and the legit team of Edwin 
H. Sothern and Julia Marlowe, not 
to mention political disks by Wil- 
liam Jennings Bryan, William How- 
ard Taft, Teddy Roosevelt and 
Woodrow Wilson. 

Double-faced disks, which gave 
a huge fillip to record sales, were 
extensively introduced in 1908 (Co- 
lumbia had made a few in 1904 but > 
had run afoul of patents control- 
led by the Odeon interests of Ger- 
many), and in 1909 a Copyright 
Act was passed which made it pos- 
sible for writers and publishers of 
music to share in the recorders’ 
profits. Radio almost knocked rec- 
ords out of the picture in the early 
1920s but the platter biz staged a 
big comeback with introduction of 
electrical recordings in 1925. Re- 
surgence lasted until the depres- 
sion, when the bottom dropped out 
of the record market. Phono busi- 
ness reached probably its low point 
of entire 20th century in 1932. 
Next year things were better and, 
as the younger generation took up 
recorded music all over again and 
hundreds of thousands of juke 
boxes went into use, platters grad- 
ually climbed to previously un- 
equalled heights. 

Another Renaissance 

Introduction of 33 and 45 speeds 
complicated the setup, but after 
the. agitation tapered off, business 
got good again. Today, the record 
business appears to have less than 
radio to fear from television, al- 
though the possibility of tape-re- 
cording, as substitute for platters, 
has been giving manufacturers un- 
easy moments for years. 

Developed as a result of 10 years 
of research, the 45 rpm system 
marked the introduction of the 
first record and phonograph made 
for each other. It was designed 
for that great bulk of the market 
which demanded a turntable ver- 
satile enough to handle both single 
pop sides, as well as longer classi- 
cal selections. At the same time 
a So rpm record, first introduced 
by RCA Victor in 1933-34 and 
marketed in its modern form by 
Columbia in 1949, brought new 
benefits to classical music buyers, 
by providing sides playing uninter- 
rupted up to 20 minutes. By 1951 
the initial “battle of the speeds” 
had died down with the ultimate 
choice of system left to the coif 1 - 
sumer and a turntable revolution 
virtually accomplished. Introduc- 
tion of the three-speed player fur- 
ther resolved the issue. 

Bridging what is perhaps the last 
important gap, RCA Victor has 
just announced a new “Extended 
Play” 45 record which plays up to 
8-minutes per side and serves as a 
vehicle for shorter classical selec- 
tions and longer pop merchandise, 
previously unadapted to either the 
long-play disk or the shorter 45. 

As for Edison himself, his first 
phono, as we have seen, played 
cylinders. Although he experiment- 
ed briefly with disks, he soon aban- 
doned them on ground that the 
cylinder was mechanically perfect 
for recording, since grooves re- 
mained same size, all the way 
across, while disk grooves get 
smaller after center of the platter 
is passed. The “Wizard of Menlo 
Park ’’stuck with cylinders through- 
out his recording activities and in- 
troduced the -unbreakable “Blue 
Amberol” in 1912. That same year 
be brought out his New Edison in- 
strument, playing Diamond Disk 
records, now widely regarded as 
the finest types of acoustic era re- 
cording. Both the Blue Amberols 
and Diamond Disks stayed on the 
market until September, 1929, 
when Edison beat the depression 
to the punch by completely with- 
drawing from the recording field. 
A cynic recently remarked, “The 
Old Man probably quit because he 
had the gift of prophecy and could- 
p’t bear to look forward to 1952 
and imagine Johnnie Ray’s platters 
screaming from jukeboxes 8 or 10 
times in a row!” 

That may be, or it may not. But 
it does seem highly likely that 
Thomas A. Edison did some rapid 
revolving in his grave a few weeks 
ago if he knew anything about what 
happened on a radio quiz program. 

The emcee asked a woman con- 
testant, “What was the name of 
the man who invented the phono- 
graph?” Obviously flustered by this 
“hard” question, ., the lady brain- 
truster hedged for half a minute 
or so, then brightly replied: 

“Why — why — why, I’m not 'zact- 
ly sure, but I think it was some- 
body by the name of Victor!” 





+ 


4- 


NBC’s 100% Acceptance 

NBC’s radio rate formula has won a 100% acceptance from 
affiliates, with the Wayne Coy-operated KGB/ Albuquerque, com- 
ing in late yesterday (Tues.) to make it a perfect sdore for the web. 
rnv had originally insisted it was time to hike AM rates, not re- 
Se them downwards. . J 

Feather in NBC’s cap Is attributed primarily tofthb “no-punches- 
nulled” pitch made to affiliates in Chicago recently by prexy 
Joseph H. McConnell and the work of station [illations veepee 
Harry Bannister in lining up the 100% affiliate approval in wliat 
was his first big assignment since joining NBC. 

Coming on the heels of the unanimous CBS ( affiliate support, 
combined with General Foods’ $2,000,000 Bob Hope deal for day- 
time and nightime NBC radio exposure and CBS Radio’s sponsor- 
ship pact for the N. Y. Philharmonic concerts, the: week adds up to 
one of the most heartening on the AM calendar. ■ * 


Hope’s $2,000,1)00 Day & Night Deal 
For GF Is Top Radio Feat of Year 


Deal signatured by Bob Hope 
lad week for General Foods spon- 
sorship, on behalf of its Jell-O 
product, may do more than all the 
research statistics, assorted mer- 
chandise techniques and so-called 
“tandem operations” to restore a 
bruised and battered AM medium 
to a bigtime status. 

Hope, who has openly decried 
the failure of the advertising fra- 
ternity to support a still-potent 
medium, has agreed to go on NBC 
five mornings a week for General 
Foods, in addition to doing a once- 
a-week Wednesday nightime show. 
Latter will be slotted at 10 p.m., 
starting next Jan. 7. The daytime 
entry goes in 9:30 to 9:45 in the 
morning, Monday through Friday, 
effective NOv. 10, with Hope doing 
an ad lib commentary on topical 
matters, similar to the five-minute 
format evolved during the Repub- 
lican and Democratic conventions 
in Chicago last July. 

Bigtime Daytime 

It’s the first time in the history 
of the medium that a major comic 
will be getting both daytime and 
nightime exposure in radio. But 
beyond that, it’s anticipated that 
the Hope moveover into the day- 
time programming sweepstakes, at 
a time when daytime radio is be- 
ginning to take the play away from 
nightime listening, may invite 
other major personalities, and 
sponsors, to stake a claim in the 
morning and afternoon network 
rosters. As one network executive 
summed up th,e Hope deal: “It’s 
(Continued on page 107) 

Victory at Sea’ 

In Oct. 26 Preem 

NBC has finally given the go- 
ahead on the slotting of its ambi- 
ious “Victory At Sea” TV series, 
it preems on Sunday, Oct. 26, in 

!!m 1 to 3:30 pm - P^od. Series 
will be presented as a public serv- 

lce , V" der 3° int auspices of NBC 
and the U. S. Navy, and represents 

r>°f U ;L ay of mor e than $500,000. 
nt r f , the 26. separate episodes, 14 
are already in the can. Produced 

sJrint Salomon, who also co- 
the series » whicl * has an 
fi al score by Richard Rodgers, 
ready stirred the U. S. Navy 
J nt0 . 'I 011 * 1 salvos, with 

ha vino the init *al installments 
navmg been shown privately. 

ted nn SOrsl ? ip wil1 onl y be permit- 
tee r? + an lnst itutional basis after 
ine firs t round of 26 installments. 

Balto’s Lovefest 

# Baltimore, Sept. 30. 
Crr cooperative deal be- 
last Tiwwi Baltim °re TV stations 
BaL 2 ?day night <23) Permitted 
Bithard to witness Sen. 

speech mi Nl ? on s "explanation" 
TV h,,; , P each was fed by NBC- 

here Ha a BAL T TV ' the NBC outlet 
10 nm ol p . re . v,0usl J' sold the 9 to 
* watTnnn 01 , to „ the Democrats for 

“unab P r e V that ° Vni ^- lai SteV6n ' 

ft. NBC Tv'' th h e C ? S ««“*»** 
“esemenb ° kayed the **- 


0G RENEWS ‘CHANCE’ 
CBS-TV DEAL COLD 

Old Gold has renewed “Chance 
of a Lifetime” on ABC-TV, in the 
Thursday 8:30 p.m. slot, and has 
washed up its deal for buying CBS- 
TV Saturdays at 7 p.m. Reason is 
that CBS could clear only 12-15 
stations on Saturday, while ABC- 
TV’s lineup is up around 50. 

Nick Keesely, veepee of Len- 
nen & Mitchell agency, said N that 
the budget on . “Chance,” Dennis 
James starper, has been appre- 
ciably increased. • 


Blame Murray’s 
One-Man War For 
Penn TV Snafu 


Philadelphia, Sept. 30. 

Disappointed televiewers in the 
Philadelphia area, who had the 
Penn-Notre Dame telecast virtual- 
ly given them, only to have it 
snatched away at the last minute, 
are crediting the loss to the one- 
man war Francis T. (Franny) 
Murray, director of athletics at the 
U. of Pennsylvania, is waging 
against the NCAA (National Col- 
legiate Athletic Assn.). 

WPTZ, local outlet of NBC, had 
set up its equpiment on Franklin 
Field on orders from the network, 
prepared to pick up the Penn- 
Notre Dame contest instead of the 
regularly scheduled Princeton- 
Columbia game. The station was 
ordered by Castleman Chesley, 
.Murray’s assistant, to remove its 
gear .at 11 a.m. Saturday (27). 
WPTZ officials had tried all day 
Friday (26) to contact Murray but 
had been unable to reach the Penn 
athletic director, and went ahead 
with the equipment installation 
just in case. 

Murray, in an exchange of tele- 
grams that began early last week, 
sought permission to telecast the 
Notre Dame game, because the 74,- 
000 seating capacity of Franklin 

(Continued on page 104) 


Robt Q. Lands Sponsor 
For CBS Radio Stanza 

Robert Q. Lewis, who has car- 
ried a number of sustaining shows 
on CBS Radio, gets his first AM 
network sponsor Nov. 1. Pine-Sol 
has bought a quarter-hour variety 
and chitchat show starring Lewis 
and featuring the Chordettes, 
femme harmony quartette from 
Arthur Godfrey’s CBS programs, 
for the 9:45 to 10 a.m. period 
Saturdays. 

Lewis has been variously spon- 
sored on CBS-TV and his “Name’s 
the Same” is noW bankrolled alter- 
nate weeks on ABC-TV by Swan- 
son and Bendix. But, while he’s 
had all of Godfrey’s AM bank- 
rollers while subbing during the 
latter’s vacation, this will mark 
his first radib spohsor’ for his oWn 
show. , 


LOPPY. CURELESS 
VIDEO IS SCORED 


By GEORGE ROSEN 

In sharp, contrast to the days in 
radio when a star wore out a cou- 
ple of ulcers each season in the 

process of achieving weekly perfec- 
tion on his program, complaints are 
mounting over the lack of integrity 
with which many TV performers 
are approaching the medium. 

Although the new season is but 
a couple weeks old, sloppy, care- 
less production and performance 
on some of the top-budgeted tele- 
vision shows would seem to indi- 
cate that, as was the case last year, 
too many stars and so-called pro- 
duction inpresarios who have been 
enticed into the medium are treat- 
ing it more as a sideline for a quick 
buck instead of trying to vest TV 
with the type of showmanship per- 
fection it’s been striving for. 

Veterans in broadcasting, recall- 
ing the days when a Jack Benny, 
in particular, sweated it out with 
his writers and cast seven days a 
week, month after month, to help 
give radio a bigtime show biz aura, 
bemoan the fact that too many TV 
shows, in contrast, are being 
thrown together on a “hit and run” 
basis. Even today, they point out, 
a Benny or a Bing Crosby radio 
show betrays a devotion to detail 
and exactness, whereas some of the 
newer comics and performers stak- 
ing a claim in the bigtime TV 
commercial sweepstakes are not 
only hurting their own chances of 
survival but seriously impairing 
TV’s full growth to maturity be- 
cause of their unwillingness to treat 
the medium with the respect due it. 

Quality With Care 

It’s argued that television is a 
much more complicated medium 
than radio — that the multiple prob- 
lems attending a “visual plus aural” 
presentation gives radio, by com- 
parison, a kindergarten status, 
hence it’s excusable if TV shows 
fail to come across with the desired 
finesse. In retaliation, however, 
it’s pointed out that there has al- 
ready been an abundance of TV 
programming fare vested with top- 
flight qualitative values when sur- 
rounded by people who have 
dedicated themselves solely and 
exclusively to TV as their “No. 1 
baby.” Cited, for example, are the 
Max Liebman-Sid Caesar-Imogene 
Coca triumvirate and their pains- 
taking weekly devotion to “Show 
of Shows,” or the laboring that 
brings forth a consistently polished. 
44 Hit Parade” production. 

A major factor responsible for 
much of TV’s present “hit-run” 
status is the widespread “doubling, 
in brass” among so .many of its top 
performers, with its recruiting of 
legit, pix, nitery, vaude talent, etc., 
whereas through the years the 
radio stars (Benny, Burns & Allen, 
etc.) had a single-minded purpose 
of delivering their best for their 
radio audiences without the “dou- 
bling” distractions. 

Last week’s teeoff of the Colgate 
“Comedy Hour” by Dean Martin & 
Jerry Lewis drew a round of bripk- 
bats from the critical fraternity 
who deplored the “we-cai. dG-no- 
wrong” aura surrounding their 
performances. The slovenliness and- 
lack of -serious intent with which 
the duo approached the program 
are offered as evidence that a “hit 
and run” TV shot sandwiched in 
among pictures theatre, outdoor 
and other dates can only hasten 
their downfall and do untold harm 
to television. . 1 


Super Duper 

Chicago, Sept. 30. 

Titles hung onto some of the 
radio shows tailored to the 
current science fiction fad are 
nearly as other-worldly as the 
scripts and formats. CBS will 
launch a Saturday morning sci- 
ence fictioner Oct. 11 in the 
10:15-10:30 slot bearing the 
tag “The Space Adventures of 
Super Noodle.” 

Show will be sponsored by 
the I. J. Grass Noodle Co. 


CBS Radio Wraps Up $1,000,00# Deal 

For N.Y. Philharmonic Sponsorship 


PALEY TO KEYNOTE 
HERALD-TR1B FORUM 

Designation of CBS board chair- 
man William S. Paley as keynoter 
for this year’s New York Herald 
Tribune Forum accents the grow- 
ing recognition of television realm 
of public opinion. ^ 

Paley is the first broadcaster to 
deliver the keynote address for 
the annual forum, which ranks as 
one of the nation’s major events 
on the public enlightenment calen- 
dar. This year’s forum is scheduled 
to open Oct. 20. 

NBC TV Offers To 

Split Difference 
To Clear Stations 

NBC-TV, in what amounts to al- 
most a desperation bid to clear sta- 
tion time for its 7 to 7:30 p.m. strip, 
has offered its affiliates a com- 
promise which network execs con- 
cede has little chance of accept- 
ance. Instead of seeking the half- 
hour slot Mondays through Fridays, 
the web is now 'seeking the time 
only for shows on which it has 
sponsors lined up, which would 
mean Tuesdays and Thursdays and 
the 7 to 7:15 period Fridays. 

As noted by one web exec, how- 
ever, the network offer is tanta- 
mount to offering the affiliates a 
deal like this: “You have $5, which 
I want and you won’t give me. So 
to please you, I’ll settle for $2.50 
and let you keep the other $2.50.” 
Stations have filled the time, which 
is station option time, with local 
shows on which they retain 100% 
of their card rates, and are thus 
adamant against giving it up. 

Pepsi-Cola has already bought 
the 7:15 to 7:30 slot Tuesday and 
Thursday nights for its “Short 
Short Drama” vidfilm series, but 
wants many more stations than the 
eight which NBC has bee* able to 
clear for it. Same situation exists 
for the Herman Hickman sports 
show in the first quarter-hour seg- 
ment Friday nights, on which the 
web has been able to clear only 
nine outlets for General Cigar. 
NBC hopes to slot “The Goldbergs” 
in the 7 to 7:15 period Tuesday 
and Thursday, with American Vita- 
min Corp., waiting on the sidelines 
to bankroll if NBC can .open up 
enough stations. 

Gen. Motors to Sponsor 
Army-Navy on AM, Too 

General Motors signed this week 
to sponsor the Army-Navy football 
game- Nov. 29 on NBC radio, as 
well as NBC-TV. On video, the 
game will be the finale to the Na- 
tional Collegiate Athletic Assn, 
package which GM is bankrolling 
through the season, but the radio 
deal is a special one-shot. • Kudner 
agency handles the GM account. 

NBC is currently trying to clear 
time on its AM stations for the 
pickup, with -stations compensated 
on the basis of two daytime hours. 
NBC’s regularly - scheduled grid 
game, sold as part of the web’s co- 
op deal this season, will be aired 
immediately after the Army-Navy 
contest. 


Neubert to Lever Post 

H. Norman (Red) Neubert, mer- 
chandising manager for NBC's o&o 
stations in both radio and TV, re- 
signed this week to move over to 
Lever Bros, as brand advertising 
manager for Surf and Swan. He 
starts with Lever today (Wed.). 

Neubert had been with NBC 
since 1950. Prior to that, he was 
public relations chief for R. H. 
Macy’s department store, N.Y. 


In another major sale to boost 
radio's newly-climbing stock still 
further, CBS Radio yesterday 
(Tues.) wrapped up a deal for 
Wyllis-Overland Motors to sponsor 
its full season of Sunday afternoon 
broadcasts of the N. Y. Philhar- 
monic-Symphony Orch, starting 
Oct. 19. Sale, set through the Ewell 
& Thurber agency, represents close 
to $1,000,000 in gross time and 
talent for the web, 

Wyllis will be the third adver- 
tiser to bankroll CBS’ Philhar- 
monic broadcasts in the 23 years 
the web has been airing the Sunday 
pickups from Carnegie Hall, N. Y. 
U. S. Rubber sponsored the series 
from 1943 through 1947, with brief 
summer hiatuses, and Standard Oil 
of New Jersey had it in the 1948- 
49 season. While those two pitched 
on an institutional level, Wyllis 
will be selling its new postwar 
passenger car, the Aero-Wyllis. 

Auto firm is in for the full series 
of 28 broadcasts, which are to be 
aired live again this season from 
2:30 to 4 p.m. Dimitri Mitropoulos 
is slated to conduct 18 of the Sun- 
day afternoon concerts, while guest 
maestros Bruno Walter, George 
Szell and Guido Cantelli will 
handle the others. As in the last 
four years, James Fassett, head of 
serious music for CBS Radio, will 
handle the Intermission interviews 
from the “Green Room.” 

In an attempt to open up more 
commercial time Sunday after- 
noons two seasons ago, CBS tran- 
scribed the concerts and played 
thfem back the following week at 
an earlier hour. System elicited a 
number of squawks from listeners, 
however, so that the pickups were 
returned to a live basis. 

CBS’ $125,000 
TV City Hoopla 

While on the Coast this week, 
CBS-TV programming chief Hub- 
bell Robinson, Jr., will set in mo- 
tion the plans for the major hoopla 
and ceremonies attending the 
formal dedication of the network’s 
TV City on Nov. 15. Among other 
things it will include a 90-minute 
coast-to-coast TV production, ema- 
nating from the new edifice, with 
practically all the CBS radio-TV 
stars. Show will cost approximate- 
ly $65,000. 

Four of the top writers on the 
Coast have already been engaged 
to script the show — Sam Perrin, 
Hugh Wedlock, A1 Snyder, and 
George Bolder. Program, in addi- 
tion to its entertainment facets, 
will also feature top leaders In 
public life. 

An additional $60,000, it’s re- 
ported, has been earmarked for 
the N. Y.-to-L. A. junket for. the 
press in connection with the CBS- 
TV City opening. 


GILLETTE MONOPOLIZES 
NEW YEAR’S DAY GRID 

Gillette Safety Razor will have 
the radio and TV airwaves virtual- 
ly tied down with its "football bowl 
game pickups on New Year’s Day. 
Already committed to bankroll the 
Rose Bowl classic via NBC-TV, the 
razor firm this week signed to 
sponsor the Orange Bowl game 
from Miami earlier in the day on 
both CBS-TV and CBS Radio. 
Agency for Gillette Is Maxon. 

This will be the first year for 
TV on the Orange Bowl game, 
since networking facilities to the 
south of Florida were completed 
only this summer. Gillette can 
bankroll both games without fear 
of competing with itself because of 
the three-hour time differential be- 
tween the east and west coasts. 
Orange Bowl will probably start at 
2 p.m., winding up one or two 
hours before the start of the Rose 
Bowl game from Pasadena, which 
usually hits the east coast about 
5:30 p.m. 



RABIO-TEXE VISION 


Pj\$tIETY 


Wednesday, October 1, -jq-j 


LWyin 


WBAT-Trstt toi Heller to Head AFTRA, Reel’s Status 

Fort Worth, Sept. 3D. - 

BAP-TV, pioneer TV outlet in ■ * « f T| 1* V\ fl 

s' ! SfSr‘" s “ •“ Uncertain; Keep Radio Dues Setup 


Washington, Sept. 30. 

With testimony yet to be received ™ 
from only the FCC, the special 
House Sub-Committee investigating 
radio-television programming is | 
not expected to recommend censor- 
ship legislation. 

Committee chairman. Rep. Oren 
Harris (D., Ark.) admitted here last 
week that there are “wide diver- 
gences” among radio and TV audi- ra 
ences about what constitutes “of- j j u 
f msive and objectionable material. H ' 
Complaints received via testimony ^. 0 
and letter have ranged all the way t j f 
from beer advertising to low-cut 
dresses and somfe jokes. 

Committee adjourned last Fri* pa 
day (23). subject to the call of the w 
chair, after listening to Clinton M. ba 
Hester, D. C,- counsel for the XJ. S. Hi 
Brewers Foundation, make a strong ro 
d fense of beer advertising on the all 
ether. He asserted that the adver- m 
tising has been both mild and in 
“good taste.” He said the pressure to 
to eliminate beer advertising from -yy 
the air comes from professional 0 f 
prohibitionist groups. In many in- 
stances, he contended,- letters to a t 
the committee protesting the na- ^ 
ture of beer commercials on TU th 
come from areas where there isn’t ta 
any television. This, he said, d< 
proved that the letter writers were, b, 
not seeing the commercials them- a 
selves, but were writing at the in- 
stigation of others. q 

In’ its two hearings in Washing- tl 
ton last week the committee heard fj 
an attack on both government and f< 
industry-wide censorship of tele- 
, vision programs, from Herbert M. n 
Levy, attorney for the American a 
.Civil Liberties Union. He said the 
question of the morality of pro- = 
grams should rest; in the hands o! 
local video stations and should not 
be handled “by special legislation 
or codes.” 

. '“The need for local responsibili* 

. ty,” he said, “was very clearly 
brought opt by the 1946 report on 
, chain broadcasting issued by Che 
Federal Communications Commis- 
sion.” He added that differing . 
tastes within the same community 
constitute one of the most difficult 
problems to be faced. 

“What one person may consider 
an offensive joke,” he said, “an- 
other person may regard to be 
harmless or perhaps ‘cute.’ What 
Is one man’s dirt may be another 
man's sophistication.” He said that 
in attempting to set standards for 
the entire country the NATRB 
■ Code “with its overemphasis on 
children, will result in programs 
for children but not for adults.” 

An opposing viewppoint was . 
given by Mss. Winfield D. Smart, 
of nearby Falls Church, Va„ speak- 
ing for a group of Catholic women. 
She said her group would support 
legislative restrictions on program 
* content unless the industry prop- 
erly polices itself. 


NBC-TV’s Today’ 
Sponsor Jackpot 

NBC-TV’s early morning “To- 
day” show has hit a sponsorship 
jackpot during the last two weeks, 
wrapping up sales with 10 new 
clients for various stretches of five- 
minute- segments. -New ' sponsors - 
represent more than $250,000 in 
billings for the show and will make 
it about 45% sold out. That, ac- 
cording to NBC execs, puts “To- 
day” over the break-even point. 

New bankrollers, who will bow 
in on the show during the next 
month, include Plymouth cars, 
which has bought 10 seven-and-a- 
half-minute segments; Polaroid, 
with 17 five-minute segments; De- 
Soto. with three five-minute pe- 
riods; Beacon Wax, with three at 
five minutes; Kleenex, with 13 five- 
minute segments; Nylast, which has 
bought 10 five-minute spots; Noma 
Electric, with 10 five-minute seg- 
ments; West Coast Lumberman’s 
Assn., with two five-minute seg- 
ments; Freshies-Pharmacraft, and 
International Silver, which pacted 
for 21 five-minute spots. 

Variety of sponsors signing on 
and the different number of spots 
they’ve bought, according to web 
execs, illustrate one of the prime 
reasons for the show’s success. They 
said it’s probably the only program 
(Continued on page 106J 


WMAQ Personalities To 
Get N.Y. Time Buyers 0.0. 
In New NBC Sales Plan 


Chicago, Sept. 30. 

Several members of the Chi NBC 
radio talent stable are slated for a 
jupket to New York at the com- 
pany’s expense, as result .of a plan 
to showcase the WMAQ' personali- 
ties before Gotham time buyers. 
With upswing in national spot ac- 
tivity playing such an important 
part in the o&o’s overall billings. 
WMAQ sales manager Rudi Neu- 
bauer and program manager Homer 
Heck have hit upon the Scheme of 
road-showing the gabbers person- 
ally before the Madison Ave. agency 
men. 


Decision to extend the project 
to other members Qf the WMAQ-j 
WNBQ talent pool is an outgrowth 
of the upbeat in interest in the 
availabilities in the daily “Lunch 
at the Conrad Hilton” strip, hosted 
by Tony and Dorothy Weitzel, after 
the pair spent a week in Manhat- 
tan taping the show from the Wal- 
dorf-Astoria. The New York spot 
buyers were invited to drop in for 
a lopksee at the Weitzel display. 

Idea,i of course, behind the 
Gotham treks is that they afford 
the New York- "buyers a chance to 
familiarize themselves with the dif- 
ferent Chi NBC names. 


Due to get the New York treat- 
ment next are emcees Norman Ross 
and Wed Howard. 


Fort Worth, Sept. 3D. 

WBAP-TV, pioneer TV outlet in 
the Southwest, operating here on 
Channel 5, celebrated its fourth an- 
niversary Monday (29). 

Commemorating the occasion, a 
special birthday telop was used 
throughout the day and night and 
on the air announcements also 
proclaimed the event. During the 
“What’s Cooking?” show a birth- 
day cake with four candles was pre- 
sented by Margret McDonald, fem- 
cee, to Harold Hough, station direc- 
tor, and George Cranston, general 
manager. All the studio shows on 
Monday saluted the outlet on its 
fourth birthday. 

CBS RADIO REPRISES 
‘FOOTBALL ROUNDUP’ 

CBS Radio will resume its Sat- 
urday afternoon “Football Round- 
up” this week (4) with virtually I 
the same setup which obtained 
last year with the exception of a 
sponsor. Three-hour roundup of 
college football pickups, coordi- 
nated by Red Barber as chief an- 
nouncer, was bankrolled last year 
by General Electric but that firm is 
sponsoring the Bing Crosby show 
this season on CBS. Web has not 
yet come up with a replacement 
for it§ grid series. 

While plans have not been final- 
ized, it’s expected that “Roundup” 
will occupy the 2:30 to 5:30 p.m. 
period Saturdays during the foot- 
ball season. With John Derr, CBS 
Radio’s sports chief, as producer, 
the show each week will have live 
pickups of the five major college 
games, plus running accounts of 
most other games ip the country 
■ taken via telephone from CBS cor- 
; respondents or off the wire serv- 
ices. 


♦ New American Federation nfl 

Television & Radio Artists, merge 

B’castmg to Get Biggest - ££* H 

Play in 9th Annual 0SU i* ^ t 

Advertising Conference %SS£; bo*”' 1 ; i 

Columbus, Sept. 30. Passed resolutions asking him to 
Broadcasting gets its biggest ^ on in the merged setup, 
play during Ohio State U’s ninth Reel had been assistant exec see 
annual Advertisiing Conference Hel if. r . wb en the latter waste 

Oct. 17-18 in the Friday afternoon AFRA s chief prior to Heller's* 
clinic on national consumer copy, taking the TVA post three years T 
Among speakers listed for that a 6Q- It s understood that pro-f 
afternoon’s session are Curtis Ber- posals made to Reel so far havon’tr 
rien vice-prez of Needham, Louis been attractive enough to convinced 
and " Brorby of Chicago, who will him to stay in AFTRA. Reel, inf 
talk on “Snow Blindness— An Oc- eidentally, is wholeheartedly be-| 
cupational Hazard”; G. Maxwell *ugd J* e p ° ic Y' ° f . integrating thel 
Ewell, research director for Ken- AM and TV administrations, and ‘ 
yon & Eckhardt, who will speak on J eels R would be a mistake not to 
"How to Increase Sales Effective- take advantage of potential econo- 
ness of Television Commercials,” bring. f 

and W. B. Ryan, president of ^F-LRAboani, A \ hl<2h c °mpn?es : 

Broadcast Advertising Bureau, who AERA wh meml)C1 ‘ s and . 

will talk on “Radio United.” Kp® 57 n ^S^ b ® ard + ^ embcrs - ha ^ 

Topics for the conference in- ■”} fV cllons L 

a ii.rAi-flbintf Pnnv "Pnndamen- ^ *•» a n(l Lilli Working onl 


elude Advertising Copy Fundamen- 


Television Network Premieres 


Ciuuc nuvcnwiub “ i'i nnt , a ..j.m 

tals Retail Advertising Copy J;be j 0S ® e 5 1< i? of the merger. It L 

C Un v C C?talc IndUStr ‘ al Advertlsing porarlly will be that of Am j 

Session” include clinics on retail. »“<* loc f al , local! ! 

national consumer, industrial and J hus ' a nertormer wilf he%h] FR ,' ! 
financial advertising copy, round- “ !J5? YL lU , b ® able f° j 

tables on advertising agency man- ™ork both fields. Back dues wilt , 

agement and newspaper advertis- be paid to both umon!i . r 

me S nta?s d C ° Py Another’ unsettled question i s : 

Hal Davis, K & E veepee, will *** d c 3L°tnT 
speak during the opening session ° n n «L f -° r be n \ ade [ 

Friday morning on “Who’ll Buy My wjth t[je D e Zn6s Tn S 

Arthur H. Motley, president and ^ a™ 

publisher of Parade magazine, will ° , al However the S/a™*’ 
address the Friday luncheon ses- ““vet | 

rtn ••Pan They Hear You’” A tI0n> slce aded for last weekend, j 

receP«on and banquet is planned AllodTed* Acto^T^Artl,^ U ", 
for Friday evening, a breakfast approval of the TV ■ 

Saturday morning and conference AFRA w-hSilo, 
membere will take in the OSU- ■ A we ? dmg '- Committees lo 


(Oct. 1-11) 

Following is a list of shows, either new or returning after a 
summer hiatus, which preem on the four major television networks 
during the next 10 days: 

OCT. 1 

Calvacade of America. Filmed drama. NBC, 8:30 to 9 p.m. (al- 
ternate weeks only). DuPont, via BBD&O. 

Man Against Crime. Filmed whodunits. CBS, 9:30 to 10 p.m. 
Camel, via Esty. 

This Is Your Life (Ralph Edwards). Audience Participation. 
NBC, 10 to 10:30 p.m. Hazel Bishop, through Raymond Spector. 

OCT. Z 

Ford Theatre. Filmed drafiia. NBC, 9:30 to 10 p.m. Ford, via J. 
Walter Thompson. 

OCT. S 

Wheel of Fortune. Audience participation. CBS, 10 to 11 a.m. 
Sustaining. 

Dennis Day Show. Variety. NBC, 8 to 8:30 p.m. RCA Victor, via 
J. Walter Thompson. 

Gulf Playhouee. Drama. NBC, 8:30 to 9 p.m. Gulf, via Young & 
Rubicam. 

My Friend Irma. Situation Comedy. CBS, 8:30 to 9 p.m. Cavalier 
cigarets, via Esty. 

Our Miss Brooks. Filmed situation comedy. CBS, 9:30 to 10 p.m. 
General Foods, via Young & Rubicam. 

Mr. and Mrs. North. Filmed whodunits. CBS, 10 to 10:30 p.m. 
Colgate, via Sherman & Marquette. 

OCT. 4 

It’s News to Me. Panel. CBS, 6:30 to 7 p.m. Simmons Co., ria 
Young & Rubicam; Jergens, via Robert Orr (alternate sponsors). 
Columbia U. Seminar. Education. ABC, 7 to 7:30 p.m. Sustaining. 
My Little Margie. Filmed situation comedy. NBC, 7:30 to 8 p.m. 
Dunhill cigarets, via Biow. 

Ozzle & Harriet. Situation comedy. ABC, 8 to 8:30 p.m. Hot- 
point via Maxon; Lambert, via Lambert & Feasley (alternate 
sponsors). 

OCT. 5 

Walter Winchell. News commentary. ABC, 6:45 to 7 p.m. 
Gruen, via McCann-Erickson.- * 

Doc Corkle. (Eddie Mayehoff Show). Situation comedy. NBC, 
7:30 to 8 p;m. Procter & Gamble, via Benton & Bowles. 

Jack Benny Show. Variety. CBS, 7:30 to 8 p.m, American 
Tobacco, via BBD&O. 

Donald O’Connor Show (Comedy Hour). NBC, 8 to 9 p.m. Col- 
gate, via Ted Bates, Sherman & Marquette. 

OCT. 6 

Double Or Nothing. Audience Participation. CJ3S, Monday, 
Wednesday and Friday, 2 to 2:30 p.m. Campbell Soups, via Ward- 
Wheelock. 

Mark Saber — Homicide Squad. Filmed whodunits. ABC, 8 to 
8:30 p.m. Sterling Drug, via Dancer, Fitzgerald & Sample. 

Hollywood Opening Night. Drama. NBC, 9 to 9:30 p.m. Pear- 
son Pharmacal, via Harry B. Cohen. 

OCT. 7 

Everywhere I Go. Sketches. CBS, Tuesday and Thursday, 2 to 
2:30 p.m. Sustaining. 

Buick Circus Time. Variety. NBC, 8 to 9 p.m. Buick, via 
Kudner. 

Embassy Club. Variety. NBC, 10:30 to 10:45 p.m. P. Lorillard, 
via Lennen & Mitchell. 

OCT. 8 

Scott Music Hall. Variety. NBC, 8:30 to 9 p.m. (alternate 
weeks). Scott Paper, via J. Walter Thompson. 

OCT. 9 

All-Star News. ABC, 8 to 8:30 p.m. Sustaining. 

OCT. 11 

Tallulah Bankhead Show (All Star Revue). Variety. NBC, 8 to 
9 p.m. Participating. 


Washington State football game b eil]1 g named 
Saturday afternoon. National 


draw up the video demands are 


nuiaay anernoon. National .AFTRA constitution 

has to be amended to conform 
fl j* 9 11* 9 V with conditions imposed bv the 

ifendlXS lolliver lo 4As The local AFRA consmu 

rmr u\ • mt* i , j ti°ns sirpilarly have to be amended. 

Preem TV Opening Night As f exami>le ; 1 i " N J- an Afran ^ 

* “ ^ not VOt.P until no hat nnrfnrmo^ in 


Hollywood. Sept. 30. 


not vote until he has performed in 
30 shows; that requirement is 


Bill Bendix will play the role of deemed too stiff in the video field 
a major league umpire as star of and it will have to be changed 
“Terrible Tempered Tolliver” in Along the same lines, constitution- 
the preem of the new “Hollywood a l changes have to be made to 
Opening Night” series on NBC-TV bring in the variety artists 
Monday night (6), which will mark dancers and other performers Into 
the first live dramatic show to AFTRA and new elections will 
emanate from the web’s new Bur- have to be held to give them rep- 
bank studios. Series goes into the resentation. 

9 to 9:30 slot, replacing “Lights . ! 

Out,” with Pearson Pharmacal re- 
maining as bankroller. AYT}/^ VI 7 V I MJV’l 

“Opening Night” will pitch for |l||v| m I 1/ IfllfC IflllAC 
top Hollywood names for the show, lll/V JL I AllaiO iflllvO 
and there’s a possibility that James 

Mason and his wife, Pamela, w r ill Fl f* 

co-star in the second. Initialer MAI* /nlll V»|/\fo 

will have Peggy Ann Garner fea- A III ullvAJ lJUUlv 

tured with Bendix, in the original 4 

play scripted by Nelson Gidding. Chicago, Sept. 30. 

Hal Kemp .is talent booker on the NBC lias snagged one of Hu 


Chicago, Sept. 30. 
NBC lias snagged one of Hu 


series, which is being produced lushest TV spot orders of the sea 
and directed by Bill Corrigan. son with the finalizing of a deal 

with Miles Laboratories for j 

tv o x n $260,000 bundle of blurbs. Spol 

r&b to Co-SpOIlSOr splurge will cover the web’s fiu 

"niiM/iri+’o 0 &0 - stations, P luz WPTZ, Phil* 

DuMonts Kocky King delphia; WBZ-TV; Boston, am 

Procter & Gamble expanded its WRGB, Schenectady, repped bj 
widespread video advertising an- NBC. 

I other notch this week by signing New' campaign, placed througl 
to co-sponsor "Rocky King, Detec- the Geoffrey Wade agency, is ir 
tive,” on the DuMont web, starting addition to the previously sched- 
Oct. 5. Under the deal, set through uled $225,000 spot package now 
the Compton agency, P&G will riding the same stations. It repre- 
share sponsorship with American sents the bulk of the kilty Miles 
Chicle on the program, which is decided to convert to spots after 
aired Sunday nights from 9 to dropping NBC-TV’s “One Man'.' 
9:30 p.m. Family” which it shared with Man 

Produced’ by the Stark-Layton hattan Soap last season, 
package firm, the whodunit stars The Miles deal brings to ovei 
Roscoe Karns in the title role. $500,000 the national spot bii 

booked out of the Chi NBC offic< 

. . . . . the past two w r eeks and is further 

Johnny Andrews to Cleve. evidence of the coin being rakeii 

Cleveland, Sept. 30. in by the networks’ owned citleis 

Johnny Andrews, w'ho has been — — 

featured on the “Kathi Norris 

"aM Teenage Diplomats’ In 
PIT WTi " " a ™“ WMCA ‘Reviewers’ led 

His wife, actress Betti Pearson, When WMCA's (N. Y.) “Youn 
will join him on some of the Cleve- i Rook Reviewers” starts its sovent 
land airers. 1 


The Miles deal brings to ovei 
$500,000 the national spot bii 
booked out of the Chi NBC offici 
the past two w r eeks and is further 
evidence of the coin being raked 
in by the networks’ owned citleii 


WMCA ‘Reviewers’ Teeol 


When WMCA's (N.Y.) “Youn 
Book Reviewers” starts its seven! 
year Saturday (4), it will original 
. , . , T _ .. _ from the United Nations Count 

Adrian, Mich — James Gerity, Jr., chambers 

Shared °WGRO J ’ B^v ' Participants will be “teenage dii 
cnasea WGxtU, Baj Mich., ] ftma +o *» children of UN personnt 

with approval by the FCC. O. W. J oma ^ enuaren oi urj p D 

Myers, general manager of WABJ, teaming U *J W1 9\ rrNFSCO clii 
has been named managing director Solomon Arnaldo, , l)a , 

of both stations, with headquar- * n Gotham, Will also UK i 
levs in Adrian. e Show’ is aired at 11:30 a.m. 


We dnesday, October 1* 1952 

" Tt 


VARIETY 


RAMO-TELEV1SION 


R & 


f 


S$ 




Writers Minimnms 




Minimums to be paid to writers under terms of the freelance 
scripters contract expected to go into effect Oct. 16 are as follows: 


Program Length 
(In Minutes) 

5 or less 
5 1 / 2- 10 

10Vfc-15 

15V£-30 

30^-45 

45V£-60 » 

60V&-75 


ORIGINALS 


ADAPTATIONS 


ComI, 

Sust. 

Coml. 

Sust. 

$110 

$80 

$90 

$65 

200 

145 

160 

115 

300 

215 

250 

175 

525 

375 

400 

300 

650 

450 

500 

350 

800 

600 

600 

425 

950 

700 

700 

700 


LEVER RAP 


Industry Leaders Join RWG In 
Blasting ‘Blacklists’ as Destructive 


First TV Writers Pact Now Readied; 
limit Set on Employer Exclusivity 


The first contract for freelanced 
writers in television will go into 
effect at ABC-TV, CBS-TV and 
NBC-TV, and those ad agencies 
signing letters of adherence, on 
Oct 16, if the membership of the 
•Authors League o£ America and 
the Screen Writers Guild okay the 
pact. 

Scripters will meet, in New York 
Oct 15 to vote on the agreement. 
Those unable to attend will act on 
the document via a mail ballot. 

Scribblers covered are free- 
lancers (those on staff are repped 
by the Radio Writers Guild, which 
is an ALA member guild, and in 
some cases by the CIO’s. National 
Assn, of Broadcast Engineers & 
Technicians). Programs involved 
are network shows originating m 
N. Y., Chi and L. A. Pact also 
covers syndicated shows and film 
series turned out by the skeins, 
but provisions for these fields will 
have to be negotiated when the 
networks hire writers for film and 
syndication airers. 

Where a show is simulcast, 
133V6% of the TV scale will be 
paid. One-time fee will be multi- 
plied by 1% for a twice-weekly 
show; by 2V4 for a thrice-weekly 
show; by 23/4 for a four-times- 
weekly show, and by three for a 
cross-the-board show. Rate for a 
cross-the-board 15-minute serial, is 
$600 commercial and $425 sustain- 
ing. 

Music and Lyrics 

Agreement also sets scales for 
music and lyrics specially written 
for TV. Terms were worked out by 
ALA with the American Society of 
Composers, Authors & Publishers. 

, Songs for a series will fetch at least 
$375 (commercial) or„ $265 (sustain- 
ing), , while songs for performers 
will earn $500 (commercial) and 
$350 (sustaining). Music sans lyrics 

(Continued on page 107) 


New RWG Faces 
On Official Slate 

Official slate nominated by the 
Radio Writers Guild included some 
new faces. With the national presi- 
dency moving, per schedule, to the 
east, Hector Chevigny has been 
nominated for the top post, vice 
Paul Franklin, incumbent prexy. 

Nominated for the eastern region 
council are Robert Cenedella, 
Abram Ginnes, Graham Grove, 
Bruce Marcus, Ira Marion, John 
Merrim^ Sam Moore, John Mc- 
Liffert, Lillian Schoen, John Strad- 
jey and Frank Wiener. Some of 
those named in the McCarran Com- 
mittee blast at the RWG are' in- 
cluded in the list, while some others 
named by McCarran witnesses are 
no longer on the ticket. 

Marion, former national prez and 
rrently eastern v.p., is bowing 
ui as an exec due to pressure of 

.^ nd instea d is running for a 
council seat. 

It’s expected that “We. the 

nncl!/?u gned,M g ro up which has op- 
posed the administration slate, will 

caV? lls own ticket.” Constitution 

in a P etit i° n of 20 members 

«iftn a °i minate a mem ber for a re- 

for a Nom lnating a member 

hat»rJl a J lonal P° sit i°n takes 20 sig- 

bearn? n f each of three regions, 
oadline for filino 


Coke Buys WHDH Grid 

Boston, Sept. 30. 
WHDH enters the current foot-, 
ball season with sponsors signed 
for its two schedules of play-by- 
play reports and a sellout on adja- 
cent spots and sportscasts. 

Coca-Cola Bottling Co. of Boston 
through the D’Arcy agency has 
bought the nine home-and-away 
games set for Boston University, 
with Curt Gowdy at the mike. < 

WOR-TVs Drastic 
Program Shuffle; 
Several Get Axe 


haUon? 0 - for additional nomi- 
129). s ls 15 days from Monday 


Following its recent personnel 
shakeups, WOR-TV, N. Y., is re- 
vamping its programming under 
the aegis of new station manager 
Warren Wade. 

Wade is axing (Patt and Bar- 
bara) “Barnes Family Album” and 
“Barbara Welles” in the 2:30 and 
2:45 p.m. strips. He announced 
that John Wingate, named news 
director of the outlet since the 
dropping of news-special events 
chief Dave Driscoll and his assist- 
ant, Edythe Meserand, would fill 
the holf-hour slot. It’s understood, 
however, that Wingate has been 
hassling with Wade on the pro- 
gram’s format, since he doesn’t 
want to take on non-news assign- 
ments. His contract with the outlet 
ran out Sunday (28) and has not 
yet been extended, Wingate said. 

“Sally Smart’s Kitchen” is mov- 
ing from 3 p.m. to the 4:30-5 slot 
and “Food For Thought” will be 
installed in the 3-3:30 p.m. niche. 
Buster Crabbe is being dropped 
from the 5:30-6 p.m. strip and 
“Western Playhouse,” a film entry, 
will be expanded to a full hour in 
(Continued on page 107) 

CBS-TV Ankles Denver 
Outlet; ‘Blocked Out’ Till 
KBTV Preems Oct. 12 

Denver, Sept. 30. 

CBS-TV, which has been sharing 
Denver’s only video outlet, KEFL- 
TV, with the rival NBC web, pulled 
all its shows off the station last 
week and will be without repre- 
sentation here until Oct. 12. That’s 
the date on which KBTV, Denver’s 
second TV outlet, is slated to 
launch operations. 

KEFL-TV has a temporary pri- 
mary affiliation pact with NBC, but 
was taking some CBS shows. Sta- 
tion, knowing that CBS would be* 
looking for . its own primary af- 
filiate, demanded that it get a solid 
13-week contract on all CBS pro- 
grams. Network execs, however, 
turned down that deal and, as a 
result, will be included out of Den- 
ver TV’ing for a span of two 
weeks 

Starting Oct. 12, KBTV will take 
the entire CBS-TV program lineup. 
Net’s contract with that station too, 
however, is only temporary since 
it plans to switch over to KLZ, its 
primary radio outlet in Denver, 
when that station gets its TV 
transmitter on the air. 

r. 


One of thp major billings casual- 
ties of the year finds the lucrative 
Spry and Rinso (Lever Bros.) ac- 
counts exiting the Ruthrauff & 
Ryan agency. All told it amounts 
to a rap in excess of $6,000,000. In 
terms of R & R, it’s a double blow, 
for not too long ago the same agen- 
cy lost the. Dodge account to the 
Grant office. 

What is all the more surprising 
is that Spry has had an R & R 
identification ever since the prod- 
uct’s inception. Similarly, Rinso 
had been in the house for 18 years. 

Who gets the business is still 
conjectural. It’s anticipated that 
the Spry biz will go to either Mc- 
Cann_-Erickson or N. W. Ayer. The 
former agency now handles the 
Lever Pepsodent billings, while 
Ayer has the Surf detergent. The 
Rinso biz is expected to go to 
Hewitt Ogilvey. 

It’s reported that a personality 
conflict between the agency and 
the client led to the decision to 
scram R & R. Involved is the Spry 
cross-the-board daytime radio 
show, in itself representing about 
$1,500,000 in annual billings, with 
other media bringing the Spry 
billings to about $2,500,000. 
Rinso, though it has curtailed its 
heavy AMTV appropriations in 
recent years since the detergent 
accent, accounts for another $3,- 
500,000 in billings. 

The R & R-Lever split is the 
latest in a succession of account 
shifts that’s had the Madison Ave. 
fraternity in a whirl during the 
past year. 

Name Glenn Taylor 
To Mutual Board 

Mutual bc»rd met in N.Y. yes- 
terday (Tues.) and elected Glenn 
Taylor, v.p. of General Teleradio, 
to the board, filling the vacancy 
caused by resignation of J. R. Pop- 
pele. Board also discussed budgets. 
Taylor, whose offices are in Mu- 
tual’s headquarters rather than 
with Thomas F. O’Neil, Jr., is 
O’Neil’s chief-of-staff for MBS. 

O’Neil took the opportunity of 
holding a General Teleradio meet- 
ing in the afternoon, since Willett 
Brown, Don Lee prexy, and Linus 
Travers, Yankee network topper, 
were in town for the MBS pow- 
wow. O’Neil and Taylor are knit- 
ting the various General Tire 
broadcasting interests closer to- 
gether. 

Integration is seen in the fact 
that John Sloan, who was recently 
brought in as WOR-TV, N.Y. na- 
tional sales manager under sales 
chief Bob Mayo, is also heading up 
New York sales repping for KHJ- 
TV, L.A., -which previously had 
been handled by Edward Petry. 
The WOR-TV sales force will be - 
selling KHJ-TV in addition 'to the 
Gotham outlet. 

HARRY WILDER RESIGNS 
AS WSYR (& TV) PREXY 

Syracuse, Sept. 30. 

Harry. C. Wilder has resigned as 
prexy of WSYR and WSYR-TV 
here, 'to devote more time to his 
broadcast interests elsewhere. 
He’ll also spend longer winters at 
his Arizona home although keep- 
. ing his Skaneateles, N. Y., perma- 
nent residence. 

E. R. Vadeboncoeur, veepee-gen- 
eral manager, will be chief exec 
at the two stations. Vadeboncoeur, 
former city editor of the Syracuse 
Journal, has been with the opera- 
tion for 13 years. s 

Wilder has owned at different 
times five AM stations in the 
Northeast and will continue as prez 
of WTRY, and WELI, New Haven, 
besides his biz interests in the 
west. WSYR was sold to S. I. 
Newhouse, owner of a string of 
newspapers, in 1948, with Wilder 
remaining as prexy. 


1m Hicks to WDSU j 

New Orleans, Sept. 30. 

Tom Hicks has been appointed 
radio and TV program manager of 
the WDSU Broadcasting Corp., 
Robert D. Swezey, executive veep 
and gen. mgr,, said Wednesday 
(24). 

* 

Hicks, who resigned as executive 
TV producer for Dancer-Fitzger- 
ald-Sample, ad agency, will as- 
sume his new duties Oct. 1. He 
will have supervision of all AM 
and video programs on WDSU. 

William Elwell and Joseph 
Carleton Beal will continue in 
their present capacities as radio 
program director and TV produc- 
tion manager, respectively, Swezey 
also announced. 

TV to Impy: 

‘Please Give Us 
Some Moppets’ 

Inability to cast moppets under 
seven years of age in live TV pro- 
gramming with a Gotham origina- 

« 

tion is held to be one of the factors 

that’s retarding the campaign to 
establish New York City as the key 
video production center, despite 
the various attempts initiated by 
Mayor Impellitteri. and other civic 
factotums. 

a , 

Producers claim they have made 
advances to the mayor, but in vain, 
in an effort to lift the moppet ban. 
They claim that it automatically 
restricts their programming ven- 
tures, particularly in the. realm of 
family drama and comedy, where 
kids play dominant roles. They fur- 
ther protest that it leaves them 
with no alternative but to join the 
production parade to Hollywood, 
where the laws are more lenient In 
regard to moppet casting. i 

The new Saturday night “Leave 
It To Lester,” family situation com- 
edy starring Eddie Albert bowing 
on CBS-TV next month, features a 
four-year-older. The kid’s been 
written into the initial sequence 
pending decision on an appeal to 
the N. Y. City Welfare Board to 
retain his services for the run of 
the series. The producers of the 
show have their fingers crossed- but 
are not too hopeful. 


Cleve. WTAM’s Ambitious 
‘Bandwagon’ Ayemer As 
TV’s ‘Today’ Counterpart 

Cleveland, Sept. 30. 

In a bold venture to capture 
broadcasting’s morning audience in 
Cleveland, WTAM (29) started a 
live, two-hour 7-9 a.m. stint fea- 
turing a 17-piece house band, as- 
sembled by Norman Cloutier, and 
three vocalists. 

Emceeing the stanza is Johnny 
Andrews, of “Easy Does It.” As- 
sisting him are vocalists Audrey 
Norris, former chirper at the Al- 
pine Village, and Jay Miltner, 
WTAM-WNBK announcer-baritone. 
Seth Carey directs the band. 

Called the “Johnny Andrews 
Morning Bandwagon,” the two- 
hour musical show is the first 
major change in local broadcasting 
since diskers began to command 
top morning ratings. New stanza 
will also be a major challenge to 
WTAM's sister station’s (WNBK) 
“Today.” 

Hamilton Shea, general manager 
of WTAM-WNBK, said since 
morning radio is destined to be- 
come the strongest segment of the 
radio day, “WTAM is putting for- 
ward its strongest feature so that 
the station will continue to hold 
greatest possible audience.’* 


* In a precedental move, industry 
leaders have joined with the Radio 
Writers Guild in* a blast at black- 
listing. The Joint Adjustment 
board, a body set up under terms 
of the RWG’s contract with the 
agencies, sponsors and package pro- 
ducers, declared yesterday (Tues.) 
that blacklisting is “destructive to 
good labor relations/’ 

The resolution was signed by a 
rep of one of the biggest broadcast 
spenders, Procter & , Gamble, and 
by execs of two of the more active 
AM-TV agencies, Benton & Bowles 
and Compton. 

Board met at the request of the 
RWG to consider a specific claim 
against one of the companies sign- 
ing the agreement. Union had 
charged the sponsor with “black- 
listing” a writer. Following the dis- 
cussion, the board passed a resolu- 
tion: “It is the unanimous belief 
of this board that blacklisting in 
any field is a practice destructive 
to good labor-management rela- „ 
tions and therefore the members 
of this board recommend to the 
signatories that they join with each 
other in issuing h statement declar- 
ing such opposition.” 

Resolution was signed by the six- 
man board, including William R. 
Ramsey, Procter & Gamble; Wil- 
liam E. Schneider, Benton & 
Bowles; Leonard T. Bush, Compton, 
and Abram S. Ginnes, Robert Ce- 
nedella and Sheldon Stark, all 
RWG. 

Announcement by Ramsey and 
Ira Marion, RWG eastern v.p., said 
that the great majority of the sig- 
natories to the contract have now 
concurred in the resolution and 
have agreed, according to a further 
recommendation of the board, that 
the board undertake immediate 
study and early solution of the 
blacklist problem. Board will prob- 
ably reconvene in a fortnight. 


Berle Faces Tough 
Tues. Competition 

Television’s Tuesday night at 8 
period, which had Bishop Fulton J. 
Sheen on DuMontdined up against 
Milton Berle on NBC last season, 
should result in one of the hot rat- 
ing fights of the season this year. 
Besides the Bishop returning to 
DuMont Nov. 11 to buck Berle, 
CBS-TV will have Jane Froman’s 
“USA Canteen” as a new entry in 
the Tuesday night 8 to 8:30 period 
— and all three shows will be bat- 
tling for the complete family 
audience. 

Berle’s vaudeo presentation has 
always been pitched to the family 
audience, with his “Uncle Miltie” 
tag indicative of his lure for the 
kids. Bishop Sheen, with his 
church affiliation, is also basically 

.a family-type draw. Miss Froman’s 
show will be grooved mainly for 
servicemen, designed to help take 
the place of USO-Camp Shows, 
which Is no longer operative on the 
domestic front." As a result, “CBS 
hopes servicemen’s families will 
switch to Miss Froman Tuesday 
at 8. 

“Canteen” does not preem for 
two more weeks and so, of course, 
has yet to prove itself. But if the 
show catche§ on, it’s believed that 
it will help equalize the ratings of 
both Bishop Sheen and Berle. Last 
season the Bishop took a hefty nick 
out of Berle’s ratings which, cou- 
pled with the audience lured away 
by the Frank Sinatra show on CBS- 
TV, tumbled Berle from his No. 1 
position in the lineup. Berle’s show 
this season has been completely re- 
vamped in an attempt to get it on 
a more solid competitive footing. 

Barbasol's Grid Buy 

i Barbasol has bought a five-min- 

• ute program before and after the 

* co-op football games on Mutual 
Saturday afternoons. Agency is 
Erwin, Wasey. 

Show, summarizing sports news, 
is handled by A1 Heifer. 


100 


tAHO REVIEWS 


P'&fH&rr 


CASCADE OP STARS \ 

With Groucho Marx, Red Skelton, 1 
Phil Harris, Jndy Canova, Ralph 
Edwards. Willard Waterman, 
Boh R. MacKensie, Robert Arm- 
brnster orch. 

Producer: Jacob A. Evans 
Director: Art Jacobsen 
Writer: Jack C. Wilson 1 

30 Mins.; Fri. (26), 9:30 p.m. 

NBC, from Hollywood 
To fanfare its major current and j J 
upcoming comedy programs, NBC ; 
put on this “Cascade of Stars” one- ! : 
shotter in a generally interesting i j 
session originating in Hollywood j 
on a partly transcribed setup. | * 
There must have been a good deal j < 
of confusion in the assembling J ] 
since Martin & Lewis, who launched i j 
their AM show on Sept. 16, had ! , 
been skedded but didn’t show. A 
larger negative was in the case of 1 
Fibber McGee & Molly, who had 1 
actually been advertised on the ( 
show day but weren’t slotted. 1 

Along with this error of commis- ( 
sion was insertion in the ads of a 
photo strip of the cast displaying 
Phil Harris & Alice Faye (they 
preem on Oct. 5), whereas only the 
former was billed and a partici- 
pant in the proceedings. The net- 
works should be better geared for 
last-minute changes in its paid (and 
non-paid> ballyhoo, a condition 
which has long been the cause for 
considerable griping on the part of 
radio editors and program loggers 
for newspapers, etc. The double 
picture was of course a nag of a 
different tint — a bit of “this can 
get by” legerdemain by brasshats 
insensitive to purity in advertising. 

Perhaps because of the tran- 
scription structure, this house 
trailer found it technically impos- 
sible to plug specific preem dates 
except in one or two instances. For 
instance, the “Judy Canova Show,” 
which gets going Oct. 23, was given 
the go-by in this respect, so that 
a casual listener would gather that 
the program is current, 
o Theme was set up via a child’s 
dream giving voice to hopes of see- 
ing NBC’s stars, this segueing into 
the layout that was largely pat- 
terned along rehearsal lines. Save 
for Groucho Marx, who simply got 
in there with his rapid-fire jokes 
to rib sponsors, the other toppers 
came through with what amounted 
to vignettes from their respective 
formats. These were Red Skelton. 
Harris, Willard Waterman (“Great 
Gilaersleeve”), Miss Canova, and 
Ralph Edwards. With the excep- 
tions noted, all have already 
launched their stints including 
“Gildersleeve” which had no sum- 
mer hiatus. / 

Much of the action was per usual 
with too many in the amplitude 
modulation medium, styled for the 
studio audience, too little of it get- 
ting over to the larger population 
at which the big plug was beamed. 
Emcee was Bob R. MacKensie, the 
net’s house name for the commen- 
tator of “Radio City Previews” 
aired Fridays at 10:35 p.m. Script 
was worked pp by writers for the 
respective acts with additional ma- 
terial by Jack C. Wilson. Music 
was by Robert Armbruster’s NBC 
Hollywood orch w r hich midwayed 
with “Fantasy on NBC Chimes.” 

Trau. 


FUN FOR ALL 

With Arlene Francis, Bill Cullen, 

audience participants; organist, 

Abe Goldman 
Writer: J. Franklin Jones 
Producer: Bruce Dodge 
Director: Art Henley 
30 Mins.; Sat., 1 p.m. 

PROM HOME PERMANENT- 
WHITE RAIN SHAMPOO 
CBS, from New York 

(Weiss & Geller) 

“Fun for All,” a transcribed half- 
hour comedy quiz show emceed 
by Arlene Francis and Bill Cullen, 
preemed on CBS Saturday (27) to 
roars of studio laughter. But what 
may have been sidesplitting to the 
studio audiences seemM' ebnSl'dsra- 
bly less humorous through loud- 
speakers. For the buffoonery and 
banter were forced and noisy. 
Likewise, some of the audience par- 
ticipants sounded like plants. 

As a means of getting off a flock 
of tepid gags and cumbersome sit- 
uations. Miss Francis captained a 
team of three participants which 
competed against another trio led 
by Cullen. Questions were tossed 
from such categories as baseball, 
detective fiction, music and im- 
promptu mellers acted in a ludi- 
crous vein. Sample of the dialog 
of Hie latter category is as follows: 
“Will you marry me?” This query 
elicited the reply, “First I must get 
my torso — I mean trousseau ready.” 

There may be an audience for 
this kind of stuff. But the show’s 
humor was hardly of the quality 
to encourage a housewife or any- 
one else to make a point of tun- 
ing in on a Saturday afternoon. 
To further carry out the audience 
participation theme. Miss Francis 
called up several women from the 
floor to “tell me In their own 
words” why they changed to D, oin, 
the home permanent. Gtlb. 


RED FEATHER CAMPAIGN 
With Groucho Marx, Danny 
••Thomas, Dinah Shore, Gordon 
MacRae, Loretta Young, Harry 
S. Truman, H. J. Heinz, 2d, Port- 
aid Reagan, emcee; Weridell 
Niles, announcer; Meredith Will- , 
son, orch * J 

Producer-Director: Dee Engelbach , 
60 Mins.; Sat. (27), 10 p.m. 
Sustaining 1 

ABC, CBS, MBS, NBC (tape) i 

* The Community Chest Funds’ ; 
1952 United Red Feather Cam- J 
paign kicked off Saturday (27) with j 
a sprightly hour-long show pro- 
duced and directed by NBC’s Dee 
Engelbach. Latter, who master- 
minded that web’s “Big Show,” 
brought many of the qualities of 
the Tallulah Bankhead starrer to 
this sustainer — and it was a bright 
canter that sustained interest 
throughout with some topflight 
comedy, 

Groucho Marx was on pretty 
much throughout the hour, heck- 
ling emcee Ronald Reagan, ribbing 
his co-stars and burlesquing com- 
mercials. Needling the plugs is 
old hat, but the satiric spiels for 
“Plebow” — his imaginary product I 
— were consistent laugh-getters, 
with the other guests chiming in. 
Marx also did an amusing vo,cal, 
“Show Me a Rose,” from his new 
record album. Danny Thomas also 
contributed some yocks via his 
stories of a wild poker session- and 
followed with his “Song of the 
West.” 

In the tune department, Dinah 
Shore socked home “All of Me” 
and Gordon MacRae pleased with 
“Porgy’s Lament." Loretta Young 
did an effective parable on Pales- 
tine’s, two seas, Galilee and the 
Dead Sea, the first giving up its 
waters and providing a rich coun- 
tryside and the dther hording its 
waters and confined to parched 
surroundings. Written by Bruce 
Barton it was a showmanly pitch 
for a charity show. Similarly, 
Meredith Willson's music, such as 
“You’ll Never Walk Alone,” done 
by orch and chorus, made its point 
without blatant blurbs. 

Airer wound with a talk by 
President Truman and a message 
from H. J. Heinz, 2d, national 
chairmanof the Red Feather drive. 

Bril 


NEWS AS IT HAPPENED 
With John Edwards 
30 Mins.; Thurs., 9:30 p.m. 
Sustaining: 

ABC, from Washington 
Idea of this stanza is to give Us- j 
teners the news ‘“as it J s made” by j 
means of tape recording. Con- 


means of tape recording. Con- 
cept is similar to earlier shows 
(ike “Head It Now” or “Voices and 
Events,” but this aims for a more 
leisurely pace, spending more time 
on each segment to provide a more 
intensive, if narrower, coverage. 

Kickoff edition Thursday (25) 
wasn’t too auspicious. Four sto- 
ries were covered — the Nixon fund 
affair, a press conference by Adlai 
Stevanson’s sister, the American 
Automobild Assn, convention and 
the Thule airbase in Greenland. 

Tapes of vice-presidential can- 
didate Richard Nixon’s speech 
were played back to focus atten- 
tion on this issue which some poli- 
ticos have called the “turning 
point of the campaign/ On • the 
Democratic side, program beamed 
a portion of the comment on Nixon 
by Sen. John J. Sparkman when 
he guested on the web’s “Cross- 
fire” series. 

As a featurish element, there was 
a recording of a press confab by 
Mrs. Ives, Gov. Stevenson’s sister, 
who would be official White House 
hostess if the Dems win. She told 
of a visit to the White House in 
her youth, during the Wilson ad- 
ministration. Another human in- 
terest feature comprised talks 
made at the AAA parley by pio- 
neer motorists, such as Gus Post 
and Bellamy Partridge. Some of 
their tales were amusing, but over- 
long. Addresses by Charles Ket- 
tering and Vannevar Bush to the 
auto powwow were interesting, but 
the entire package had a rambling, 
after-dinner-talk flavor. 

Finale consisted of a report by 
the commander of Thule, base 
carved out of rock and ice cin 
Greenland and serving as hub of 
air routes criss-crossing the North 
Pole. • It was a factual account 
of a project just taken off the 
“classified” list. 

Program stacks up as palatable, 
but needs a more careful selection 
of its material to include more 
hard news. John Edwards did an 
effective job as annotator. Editing 
of the 'tapes calls for improvement 
— there were occasional extraneous 
noises as the recorders^started and 
where tape was spliced. Bril. 


Wednesday, Octol>er 1, 1952 

AMOS ’N' ANDY RECORDING SESSION 1 

With Freeman Gosden, ■ Charles With Art Ford, guests J 

Correll, Ernestine Wade, Johnny 25 Mins.; Sunday, 12:35 p.m f 
Lee, others; Jeff Alexander orch; Sustaining ’ £ 

Harlow Wilcox, announcer WNEW, N.Y. ( 

Producer-director: Cliff Howell As another of its enternri«i,J- 

W Mo^r J ° SeP C0n “ 01 y ' P rogram ldeas tra “* d wwnd » I 

30 Mins., Sun., 7.3Q p.m. music, WNEW has come up with ii 

REXALL documentary - styled series del 

CBS, from Hollywood signed to give dialers a behind-thtuf 

. (BBD&O) scenes view of how platters arJ 

“Amos ’N’ Andy,” back' on the made by the maor disk companieil 
air Sunday (28) to launch its 25th it's an interesting attempt but tin I 
season, was the old reliable pro- first two shows, at least, didn't F 
gram, with something of a differ- juite f °Jf as . a realistic, alU ! 
ence. In recent seasons, Freeman ^ k ? n g o£ the j 

Gosden and Charles Correll, who xoo much is being left out and 
originally enacted all the roles and w hat’s covered is being done u-rn, = 
wrote the scripts themselves, have a somewhat artificial flavor riJi 
taken it a little easier, employing sp it e the tape machines presum N 
a staff of writers and using other a biy located in the disk execs’ nfl 
actors as support to themselves. fices an( j j n th e recording studios! 

As result, the program has a dif- The role of the music publishers $ 
ferent mood and appeal now, in bringing new material to theF 
broader and more superficial in itis artists and repertoire men, for in.l 
burlesque, as against the oldtime stance, isn’t touched on at all OnS 
corny, sentimental setup of the the opening show (21), Columbia* 
original duo. There 4s plenty Records’- a&r chief Mitch Miller I 
warmth, still, but it’s less personal, found a couple of “new” tunes by 
Situations are not too different — riffling through numbers already \ 
still built around femmes and waxed some country artists, f 
amorous complications that ensue. That accounted for Rosemary 
Sunday’s (28) instalment dealt with Clooney s Half as Much” and the 
a spat between Kingfish and his Clooney-Marlene Dietrich “Too 
wife (abetted by his mother-in- Old To Cut The Mustard.” Simil. 
law), and Kingfish moving in with arly, how RCA Victor’s pop a&r 
Andy. Then came the Lenox Ave. topper Dave Kapp masterminded 
Masquerade Ball, with estranged his pop selections on the second 
Kingfish and wife showing up in show of this series wasn’t revealed 
disguises, with the usual story line either. 

and developments. * Kapp was covered working with 

Situations, lines and comedy Perry. Como in a recording session 
were familiar, with some corny on last Sunday’s (28) stanza. Show 
dialog for laughs, although they included playbacks of two recent 
went over very well with the studio Como releases, ‘Love arid Devo« 
audience. Amos and Andy helped tion” and “I Wanna Make Love To 
matters along for Rexall, the spon- You” and segued into some spar- 
sor, with a healthy plug to start off ring between Kapp and Como over 
the urogram. Bron. new tunes to be done by the latter. 

Como kibitzed with the crack: 

“Give me seme stiffs and I’ll cut 
FRANKLY ESOTERIC # them” while Kapp was on the 

•With Henry Cowell; Wes Hopkins, deadly serious side, admonishing 


0 Radio Network Premieres 

(Oct. 1-11) 

Following is a list of shows, either new or returning after a 
summer hiatus, which preem on the four major radio networks 
during the next 10 days: 

. OCT. 1 

M-G-M Musical Comedy Theatre. Musicomedy. Mutual, 8 to 
9 p.m. General Mills, via Tatham-Laird. 

Life Begins at 80/ Panel. ABC, 8:30 to 9 p.m. Sustaining. 

OCT. 2 

Modem Adventures of Casanova. Drama. Mutual, 8 to 8:30 p.m. 
General Mills, via Tatham-Laird. 

Junior Miss. Situation Comedy. CBS, 8:30 to 9 p.m. Sustaining. 

OCT. 3 

Adventures of Maisie. Situation comedy. Mutual, 8 to 8:30 p.m. 
General Mills, via Tatham-Laird. 

Best Plays. Drama. NBC, 8 to 9 p.m. Sustaining. 

Ozzie & Harriet. Situation comedy. ABC, 9 to 9:30 p.m. Hot- 
point, via Maxon; Lambert, via Lambert & Feasley, alternate 
sponsors. 

Meet Corliss Archer. Situation comedy. ABC, 9:30 to 10 p.m. 
Electric Cos., via N. W. Ayer. 

OCT. 4 „ 

Vaughn Monroe Show. Music. CBS, 7:30 to 8 p.m. Camel ciga- 
rets, via Esty. 

OCT. 5 

The Shadow. Whodunit. Mutual, 5 to 5:30 p.m. Wildroot, via 
BBD&O. . 

Our Miss Brooks. Situation comedy. CBS. 6:30 to 7 p.m. Col- 
gate, via Ted Bates. 

Edgar Bergen. Comedy. CBS, 8 to 8:30 p.m. Richard Hudnut, 
via Kenyon & Eckhardt. 

"Phtl Harris-Aiictf Faye - Show. ■ ‘ Comedy. NBC, 8 to 8:30 p.m. 

RCA, via J. Walter Thompson. 

Walter Winchell. News commentary. ABC, 9 to 9:15 p.m. 
Gruen, via McCann-Erickson. 

John J. Anthony Hour. Personal Problems. Mutual, 9:30 to 10 
p.m. Sterling Drug, via Thompson-Koch. 

OCT. 6 

Meredith Willson’s Music Room. Music. NBC, 10 to 10:30 p.m. 
(not aired via WNBC, N.Y.). Sustaining. 

OCT. 7 

Michael Shayne. Whodunit. ABC, 8 to 8:30 p.m. 

Fibber & Molly. Situation comedy. NBC, 9:30 to 10 p.m. 
Reynolds Metals, via Buchanan. 

My Friend Irma. Situation comedy, CBS, 9:30 to 10 p.m. Cava-' 
lier cigarcts, via William Esty. 

First Nightcr. Drama. NBC, 10:35 to 11 p.m. Miller Brewing, 
via Mathisson & Associates. 

OCT. 8 

Mystery Theatre. Whodunits. ABC, 8 to 8:30 p.m. Sterling 
Drug, via Dancer, Fitzgerald & Sample. 

Walk a Mile. Audience Participation. NBC, 8 to 8:30 p.m. 
Camel cigarets, via Esty. 

Dangerous Assignment. ' Drama. NBC, 10:35 to 11 p.m. Co-op. 

OCT. 9 

Bing Crosby Show. Variety. CBS, 9:30 to 10 p.m. General 
Electric, via Young Sc Rubicam. 

OCT. 11 

Super Noodle. Kid’s show. CBS, 10:15 to 10:30 a.m. I. J. Grass 
• Noodles, via Phil Gordon. 


announcer • Como to lay off golf for more at* 

Producer: Bill Kaland ~ tention to his disk assignments. 

Director: Milton B. Kaye That, anyway, is how the script 

Writer: Milt Robertson ran. The chatter portion also in* 

15 Mins., Sun., 10 p.m; eluded powwows among Kapp, 

Sustaining Como and musical director Mit- 

WNEW, N. Y. chell Ayres on arranging ideas for 

WNEW had something of an idea a couple of numbers subsequently 
here, in an unorthodox ?ftew series waxed by Como and also played 
slanted to avant-garde enthusiasts back. These were “My Lady Loves 
and intellectuals. But initial pro- To Dance” and “To Know You Is 
gram Sunday (28) was a motley of To Love You.” 
oddities, too fragile and scattered The initial stanza showcased 
to be substantial. If it had cen- Miller and Miss Clooney in a sim- 
tered on. one theme, or on one sort i] ar setting. Miss Clooney and Mil* 
of oddity, it would have carried ier tended to exchange too many 
more weight. bouquets but some idea was given! 

Initialer was a little too dilet- how the a&r chief sold the song* 
tantish as well as haphazard. Into stress on the tune, “Half As Much,' 
its brief . 15 minutes were crammed before she made it a hit. Miss 
a reading by Gertrude Stein of her Clooney ajso was heard on her 
repetitious, confusing poem, “The slices of “Blues in the Night.” and 
Making of an American”; a modern “Tenderly,” both cut to Miller's 
harp nocturne by Nlcanor Zaba- specifications, 
leta, and two piano selections writ- Art j?ord ties this series together 
ten by Henry Cowell, “Anger w ith a hep commentary. The show, 
Dance” and Banshee. however, is more of a plug for the 

Cowell was present to explain artists’ latest recordings than an 
how he came- to write the two analysis of how and why he made 
works. “Anger Dance,” written to them. But it’s a way of getting top 
express his fury at something, had disk names - to the WNEW micro- 
substance. “Banshee,” with weird phone. Louis Armstrong and Gor- 
wailing sounds produced on the don Jenkins, repping the Decca 
piano, was strictly a novelty stunt, label, are set for next Sunday'! 
Program, it is true, is frankly chapter. Herm. 

limited, but station’s approach, in 

advising its listeners to that effect, _ ‘ 

and in openly appealing only to CONRAD NAGEL SHOW 

intellectuals, seemed a little pa- Director; William Fender 

tronizing. Why not let listeners de- Writer: Winifred Schaefer 

cide for themselves? Bron . 30 Mms., Mon.-tliru-Fri., 1:30 p.n 

% Participating 

WNBC, from New York 

FARM PAPER OF THE AIR , WNBC has an attractive pr< 
With Don Tuttle, Others gramming bait for nabbing earl 

30 Min s.; Mon. thru. Sat., afternoon dialers in Conrad Nagei 
12:30 p.m. 30-minute cross-the-board seriei 

Participating Nagel, a veteran legit and fill 

WGY, Schenectady thesp, is a surefire lure for tli 

The 26-year-old WGY “Farm hausfrau aud. The tone and clas 
Paper of the Air” has a new editor which he brings to his gabbinf 
in Don Tuttle, but its other con- platter spinning stint is unusu; 
tributors and regular features for early afternoon programmin 
show few changes. The format has and. should win a strong folio win] 
been tested by time and proved Nagel’s half-hour is a blendin 
successful, although a fresh listen- 0 f news and music from Holl) 
ing reveals some evidence, of “dat- vyood. In the reportorial segment.1 
ing” and indicates minor modern- wisely eschews the gossip patter 
ization might be advisable. This is established by Hedda Hopper an 
most noticeable in “columns” by Louella Parsons and sticks to soli 
several guests who • write rather trade stuff like casting, new pn 
lengthily and literarily. Scripted ductions, openings, etc. He keep 
exchanges are sometimes stiff; the it a ii i n the layman’s groove givb 
ad lib stuff comes off easier on the a breezv account of what’s happei 
ear. Program, as always, covers ing The de^ay stint which ft 
a wide variety of agricultural fac- i 0W s the five-minute screen ne\ 
ets and encompasses considerable coverage, offers an excellent vai 
territory. Careful planning is ob- e ty of film-tune diskings. 

V10 . us " ... On show caught Wednesday (2 

Among interesting interviews Nagel played the M-G-M soun 
heard was that with Keith Cox, a track waxing of Metro’s “The M< 
Scotchman who directs 26 farms ry Widow,” Ray Bolger’s Dec 
on Jamaica, in the British West etching of “Once -In Love Wi 
Indies, for Reynolds Aluminum Co. Amy” from “Where’s Charley” a 
Another offrthe-beaten track was Marlene Dietrich’s treatment 
one from the Cornell School of “See What The Boys In The Ba 
Home Economics, in which a worn- Room Will Have” from ”D es ' 
an talked with a representative of Rides Again.” Program was < 
India on cafeterias recently estab- cellently knit by scripter Winifi 
lished in that country and on its Schaefer and director William F< 
food problems. der. Spot commercials . insert 

Tuttle, youthful, intelligent and an unavoidable evil in this part 
twangy, spiels for several agricul- pating setup, were disconcertii 


tural products. 


Jaco. 


Gros 


tcr^flneBcIay? October 1? 


VMSffirr 


TELEVISION REVIEWS 


101 



UCHARD M. NIXON 
Vtth Mrs. Nixon 

lVn i e nc Ni Tues (23), 9:30 p.m. 
iffiftlSBr NATIONAL COMM.. 
cbC-TV, from Los Anfeles 

( Kudner ) 

_ np vice-Presidential candidate Richard M. Nixon, facing 
tiflnoo gift fund rap, went before the TV cameras last Tues- 
* n Too? in the best tradition of the American soap opera. It was 
ick a "production” ajs anything off the Anne Hummert belt 
?• Slaving all the schmaltz and human interest of the "Just 
p!’a e in Bill"-"Our Gal Sunday" genre of weepers 
P ’ he only thing missing was the organ background music as 
*■ ”5 annealing for a commutation of sentence with a faithful 
N !}“° n ' the major prop, turned in a performance that would have 
Saddened the hearts of the Dancer-Fitzgerald-Sample soaper 
Itprnitv Translated into a commercial suds saga, it would have 
heena cinch to gamer a renewal for at least another 52-week cycle 
video-wise it had even more significant overtones. ‘Regardless of 
hat narty or cause the viewer championed, it was a brilliant feat 
noiitical journalism. It was, too, a major test for TV, demonstrab- 
le p “ nce and for all (and something the commercial boys can learn 
from) that, with a good script, good casting and topflight produc- 


tion, you can t miss. 


[ARTHA raye show 

III Star Revue) 

ith Cesar Romero, Rise Stevens, 
Rocky Graziano, George Bass- 
man orcli, The Vieras, others 
roducer: Leo Morgan 
irector : Nat Hikcn . 

Writers: Hiken, Billy Fnedberg, A1 

Singer 

0 Mins., Sat., 8 p.m. 
artieipatiiig 

fBC-TV, from New York 

Martha Raye’s reentry to NBC- 
V on the "AH Star Revue Sat- 
rday (27) was one of the best 
liows she’s done on tele. Miss 
[ave has had a generally distin- 
uished career on TV, but there 
,as nothing like Saturdays dis- 
may to set her off. This program 
,-as an amalgam of tjigtime pro- 
luction, miming, casting, writing 
nd direction. The results were 
s hilarious as anything she’s ever 
lone. 

Miss Raye had the fortune to be 
tacked by an excellent script sup- 
tlied bv Nat Hiken, Billy Fried- 
terg and A1 Singer. There were 
nany situations, which while 
tased on tested theatrical devices, 
vere given fresh slants. Miss Raye 
vorked within a situation comedy 
ormat as an entertainer in one 
|f the less-fashionable dives. Plot 
lad her apartment being used as 
ihe location for the filming of “Dr. 
lekyll and Mr. Hyde.” Cesar Ro- 
bero, Rise Stevens .and Rocky 
uraziano provided the plot twists 
ind support. The basic situations 
kere funny and the embellishing 
pcident lilted the talent to peak 
foments. 

Miss Stevens, aside from giving 
ine aria, showed a good comedy 
[lair as the hostess trying to make 
ilissRaye and Graziano feel at home 
it a top social event. Romero had 
teveral moments to prove his com- 
die mettle and did them well. The 
hespic surprise of the occasion 
(vas Graziano. This pug, fresh 
com a defeat by Chuck Davey, 
idn’t muff a line. True, the script- 
rs did their writing around him, 
but what he had to do, he did very 
pi. He could easily join the ros- 
ier of pugs in greasepaint, a list 
Piat includes Tony Canzoneri, Max 
paer and Maxie Rosenbloom. 

One charming sequence was by 
lanuel & Marita Viera, assisted by 
;vo intelligent simians- .This ses- 
ion got yocks and provided a set- 
P that enabled Miss Raye and 
omero to do a funny burlesque of 
ie monkey act. 

However, the fulcrum of all this 
ctivity was Miss Raye’s native 
lomedic ability. She’s a genuinely 
uuny gal and what’s more, she 
an be tops in this field without a 
mgle blue line. She’s still an act- 
■ess of ability, an asset that gives 
[reater direction to her comedy. 
Leo Morgan, who produced Miss 
Res efforts last season, is again 
andiing tins chore. He’s coordi- 
aled a top staff and knocked off 
^ show which should be a land- 
mark on this series. Jose. 


PAPA CELLINI 

With Carlo De Angelo, „ Ada Rug- 
ger!, Aristide Sigismondi, Caro! 

Sinclair, Ivan Curry, others 
Producer: De Angelo 
Director: Robert Burgraff 
Writer: Robert Cenedella 
30 Mins., Sun., 4:30 p.m. 

RONZONI 
WJZ-TV, New York 

( Emil Mogul Co.) 

"Papa Cellini” apparently is 
aiming to be the Italian version of 
"The . Goldbergs.” It’s directed 
toward attaining a warm, folksy 
comedy, that won’t scare off any 
non-Italian listeners. This half- 
hour show will likely succeed in 
this direction, even though there’s 
a tendency to overdo some of the 
folksy stuff, a fact that can be 
corrected in future writing. 

' Cast is headed by Carlo De An- 
gelo, doubling as producer. A vet 
radio producer, he proves to be a 
capable actor. He has the right 
touch of ham to warm up this show 
and paces the entire cast to a good 
blowoff. 

Plot on the initial session had 
the Cellini family Celebrating 
Papa’s birthday. The festivities 
came at a time when a genealogist 
was attempting to convince the 
household head that he was a de- 
scendant of the famous -Benvenuto. 
He was about to extract $100 for 
the coat of arms and a genealogical 
chart when Papa decided that he 
couldn’t achieve more stature with 
the heraldry than, that already 
bestowed upon him by his family 
and friends. 

The cast had Ada Ruggeri -as 
Mama, Carol Sinclair and Ivan 
Curry as the children and Aristide 
Sigismondi as Antonio. It’s an okay 
lineup. 

Commercials for Ronzoni spa- 
ghetti are palatable but could 
stand some pruning. Jose. 


BATTLE PAGE OF THE AIR 
With Cecil Brown, emcee; Ken- 
neth Crawford, Lawrence E. 
Layboume, panelists? W. Averell 
Harriman, John Foster Dulles, 
Marx Leya, Alde.n Hatch, guests 
Producers: Franklin S. Forsberg:, 
Joan Sinclaire, Ann Phillips 
Director: Lou Florence 
30 Mins.; Tues., 9 p.m, 

N. Y. DAILY NEWS 
WPIX, N. Y. 

( Cunningham & Walsh) 
"Battle Page,” veteran pre-elec- 
tion feature of the N. Y. News, has 
been brought to video on the morn- 
ing tab’s o>yn tele station, WPIX, 
in a polished forum. Kickoff pro- 
gram (marking the vid-packaging 
bow of mag specialist Franklin S. 
Forsberg) on Tuesday (23) moved 
smoothly and had headline-making 
guests in John Foster Dulles, GOP 
foreign policy strategist, and W. 
Averell Harriman, who had been 
a candidate for the Democratic 
nomination as well as Mutual Se- 
curity Administrator. 

Quizzing them in an informed 
manner were two permanent pan el- 
ites, Lawrence E. Laybourne, chief 
of Time mag’s U. S. - Canadian 
correspondents, and Kenneth 
Crawford, national affairs editor 
of Newsweek; and two guest in- 
terrogators, Marx Leva, former 
Asst. Defense Secretary, and Alden 
Hatch, author-biographer. 

Format calls for each of the 
principals to give a two-minute 
presentation of his views, followed 
by a 20-minute give-and-take as 
the panel tosses the queries. It 
made an interesting discussion of 
GOP.-vs.-Dem. approaches to inter- 
national politics, with less of the 
heated confusion that mars some 
such airers. However, the one- 
minute summary time allotted at 
the conclusion seemed insufficient. 
Harriman and Dulles used the 
period chiefly to plug their respec- 
tive Presidential candidates. Pro- 
gram is strictly for the two major 
parties and no notice was taken of 
smaller groups on the preem. 

Cecil Brown, the Mutual com- 
mentator, makes a competent mod- 
erator. Production was topflight, 
with good closeup lensing. Frank 
Waldecker pleasantly handled the 
blurbs for the daily, plugging its 
compactness, mass circulation and 
special features. Bril. 


THE WEB 
(Deadlock) 

With Eli Wallach, Dennis Harrison 
Producer; Vincent MeConnor 
Director: Lela Swift 
Writer: A. J. Russeil 
30 Mins., Sun., 10 p.m. 

P. LOftlLLARD CO. 

CBS-TV, from New York 

(Young & Rubicam) 

Having switched to CBS-TV’s 
Sunday schedule from its previous 
slotting in the same net’s Wednes- 
day lineup, "The Web” seems 
destined to make the most of this 
cream viewing tim® by picking a 
wider following. On basis of its 
production and thesping, show 
warrants viewing. Producer Vin- 
cent MeConnor and director Lela 
Swift have an imaginative and 

class approach to meller telecast- 
ing which cant’t help but win ar- 
dent partisans. 

Only wpak spot in preem stanza 
Sunday (28) was the A. J. Russell 
script tagged "Deadlock.” Plot 
teed off on an interesting premise 
(rivalry between two detectives, 
one who had earned his slot 
through practical experience and 
the other through police school) 
but dissipated into routine meller 
stuff as it progressed. Story hinged 
on uncovering a time bomb which 
had been placed by a dying man in 
his wife’s suitcase. Wife totes the 
bag to the - airport where she’s to 
board a plane. She decided, how- 
ever, not to fly home and goes in- 
stead, still carrying the suitcase, 
to her brother’s nitery. After a 
number of hectic phone calls, the 
detectives track her down,, get to 
the suitcase, and defuse the bomb 
but only after the feuding detec- 
tives try to prove their courage by 
waiting until the last moment be- 
fore beginning the defusing pro- 
cess. What was to have been the 
dramatic highlight of the piece 
proved to be nothing more than 
an unbelievable bit of hokum. 

Eli Wallach gave a sock portrayal 
of the detective with practical ex- 
perience and Dennis Price comple- 
mented him nicely as the rival. 
Othen cast members were okay in 
their assignments. 

The commercial spiels for Kent 
1 Cigarets were presented effec 
tively. „ Gros. 


♦4+4444444444 » » 4 ^M"44 “ 444 4444 4 4 4 4 4 ♦ MUMM 


THERE’S ONE IN EVERY 

FAMILY 

Witli John Reed King, emcee 
Producer: Richard Lewine 
Director: James Sheldon 
30 Mins., Mon.-thru-Fri., 11 a.m. 
Sustaining 

CBS-TV, from New York 

In the co.itinuing wrestling and 
jockeying for daytime TV formats, 
the CBS video production boys 
came up with a new half-hour, 
cross-the-board morning stanza 

which starts off with a sound* prem- 
ise that is off the beaten program- 
ming path, but deteriorates into an- 
other of the multiple prize-laden 
q. & a. sessions that borrows from 
the several hundred others that 
have gone before. 

This one is called "There’s One 
In Every Family,” and is designed 
to showcase members of families 
who are outstandingly different. 
Item: A boy with aspirations to 
reach the moon via rocket and who 
knows a lot of the science-fiction 
answers, including flying saucers, 
atomic fission, etc.; item: A New 
York woman (Pearl Fisher) who 
has distinguished herself as a "big 
sister” to servicemen around the 
world when they hit Manhattan and 
who has been appropriately cited 
by Cardinal Spellman for her serv- 


REDWARING show 

I ni J°i anne Wheatley, Daisy Ber- 
Wl Joe Marine, Virginia & Liv- 
SPy* 9 earhart » Frances Wy- 
r.’ ? ob ¥ s J<nds, Suzanne Lovell, 

7>S D ?vis, Keith & Sylvia 
K r . or ’ i * J ? ,S Winter, Leonard 

IIuKh Brannmn. ... 

m. ao ' “Goodman, Nadine Gae & i ices. There are others who parade 
an,i C » it aux; J° a n Woodward i before the cameras telling their 
i?r C ?r B ^ ber ' announcers. 

10 C d o rcct0r: Bob Banner 
■E\Trni'i S, !. n " 9 »•>”• 

bstv AI ; kikctkic 
^’Tv, from New York 
T _ 1 RBD&O) 

knVi 1l4 l? in ^ on tIlat has long 

P evi(int >1(,( Waring trademaik 

KVP, a * ain in the new 

nd hie T. (,u <-*i*tissement that he 
, tr S upe are Ashing 

Piution 0 , Z'™ 1 Electrlc - The iin- 
* p, • lies mostly in 

'Urn tinned on page 102) 


stories. 

Then the program dissolves into 
the clicked formula — the ap- 
plause meter which determines 
how much she gets for telling her 
story; the routine guessing contest 
(of the "Beat tlffcaClock,” "20 Ques- 
tions,” etc., genre) for additional 
loot for the family, with visual 
plugs for the donated prizes. 

John Reed King is emcee on the 
series. He handles the partici- 
pants in his usual glib manner. 

Rose . 


Tele Follow-Up Comment 

+ 44 4 4 4 44 44-+4+ + 4 + 44 444 4 + 4444444 4 44444 44+4 444 4 44 4 4 ♦ 

The first half of Ed Sullivan’s 
"Toast of the Town” (CBS) salute 
to "The ASCAP Story” proved 
(1), most Songwriters are not good 
pluggers for themselves, and (2), 
only when a songsmith-entertamer 
like Harold Arlen or Joe E. How- 
ard comes on the scene do their 
handiwork assume the stature they'] 
merit. While Sullivan dramatized 
how a catalog of 200,000 works are 
available to music users* through a 
central performing rights and col- 
lection agency such as the Ameri- 
can Society of Composers, Au- 
thors & Publishers, there was a 
shade too much accent on the 
penniless Stephen Foster (with a 
prop empty purse; presumably au- 
thentic) and the Victor Herbert- 
Nathan Burkan-Justice Holmes de- 
cision. 

Historic and potent as all these 
facets are, somehow they didn’t 
play as they should. Sullivan had 
an awareness that the parade of 
Jack Norworth, Mabel Wayne, 

Harry Tierney, Maude Nugent 
Jerome, Alice Lawler, George M. 

Cohan (film clip), Peter DeRose, 

Ernie Burnett fell into the "and 
then I wrote” orbit, and he so 
mentioned it. 

Show didn’t perk until Arlen at 
the halfway mark. As is w.k. with- 
in the trade, he is the son of a 
cantor and his penchant for the 
blues stems from that minor-key 
heritage, both as songsmith and 
song interpreter. Arlen’s catalog 
so overwhelmed and eclipsed the 
others that it automatically sug- 
gested a base for an hour all its 
own. As it was, he consumed a 
healthy segment. Same was true 
of the octogenarian showman Joe 
Howard ("I Wonder Who’s Kissing 
Her Now,” etc.) backed by the 
chorus line. 

While Oscar Hammcrstein 2d. 
whose saga was teleproduccd by 
Sullivan last spring, took a bow 
from the audience, the impression 
lingered that the vastness of the 
project militated against a fair 
distribution of . the values. Her- 
bert got a brushoff to dramatize 
the historic Shanlov’s Restaurant 
legend and it ended there. Then 
came the parade of and-then-I- 
wrotes, which reminded of those 
periodic Benny Davis, Anatole 
Friedland, Al Sherman, Charlie 
Tobias vaude flash acts of yester- 
year — "Songwriters on Parade” 
and the like — instead of the rich- 
ness of ASCAP that stems from 
the Gershwins, Cole Porter, Kern, 

Romberg, Friml, Hirsch, Harbach, 


DeSylva, Brown & Henderson, 

Rodgers & Hart, Dubin & Warren, 

Brown & Freed, Mercer, Loesser 
and a host of others. And Irving 
Berlin. Several of these are 
heralded for the second part and 
the interpretative artists will be 
Les Compagnons de la Chanson (a 
rather strange Gallic note for the 
American Society) and Vaughn 
Monroe. And presumably tunes 
by ASCAP prexy Harbach (which 
means probably Kern, his favorite 
composer-collaborator) and, natu- 
rally, Berlin. 

There’s a Sunday night folksi- 
ness about the many vets who were 
paraded if not cavalcaded before 
the CBS iconoscope — but trade- 
wise the spectre of BMI cropped 
up. ASCAP songsmiths are talk- 
ing “war chest” to battle the sup- 
posedly BMI "upstarts” who seem 
to dominate the current Hit Pa- 
rade — and it is to be hoped that 
next Sunday’s ASCAP cavalcade 
will more modernly transmute the 
Society's contributions in this 
"Toast” two-parter. ASCAP is a 
natural "Toast.” 

Certainly Sullivan has been 
manifesting much showmanship 
savvy in striving for new and fresh 
central themes with which to punc- 
tuate his Sunday night vaudeos. fn 
his sundry "salutes” (Robert E. 

Sherwood, Helen Hayes, Hammer- 
stein, et al.) he has shown astute- 
ness and a desire for the fresh ap- 
proach. Focused around individ- 
uals the panorama is more person- 
alized. hence punched-up because 
of a single focal point. The large- 
ness of the ASCAP canvas pre- 
sented an editing problem. Obvi- 
ously, the Society is an entire sea- 
son’s series in itself. Arlen gave 
a sample thereof. There are 30- 
minute and full-hour programs in 
the catalogs of any of the above. 

Sullivan may well prove to be a!., , 

trailer for that idea. Abel. * lhey c *°- 


EDDIE CANTOR SHOW 
(Colgate Comedy Hour) 

With Eddie Fisher, Dorothy La- 
mour, Sammy Davis, Tom D’An- 
drea and Henry Slate, Sidney 
Fields, Al Goodman orch, others 
Producer-Director: Sid Kuller 
60 Mins.; Sun., 8 p.m. 

COLGATE 

NBC-TV, from Hollywood. 

(Bates, Sherman 8c Marquette) 

A few more like his "Comedy 
Hour” kickoff and televiewers 
across the land will take up the 
cry "We Want Cantor.” It would 
seem this great showman can do 
no wrong in putting together a dis- 
play of diverse elements and make 
it mesh with the smooth precision 
of a dove’s tail. It sped through 
the Sabbath hour with sparks of 
wit flying in all directions and 
other diverting elements matching 
the general high tone of entertain- 
ment. 

Few stars on the bigtime can 
make use of guest talent with un- 
failing judgment of this exemplar 
of the lively art. Dorothy Lamour 
was never shown to better advan- 
tage in two skits with the headman 
and proved again she comes by the 
new medium with better artistry 
and grace than most film converts. 
Reflecting assurance and confi- 
dence that comes with working 
alongside the master of comecly 
projection. Miss Lamour emoted 
and cajoled with all facets shin- 
ing. 

As in all Cantor shows there’s 
reason for laying a premise so that 
the acts aren’t dragged in by the 
heels. Here the device was bring- 
ing Broadway to America and set- 
ting a simulated tour of Mazda 
Lane. Cantor may not have been 
overly evident on camera but at 
these junctures guesting specialists 
were of such calibre as to keep the 
pace hopping and sitters rocking. 

If it wasn’t Sammy Davis, Jr., 
exploding laughs with his mimicry 
and fast footwork there were the 
griping GIs, Tom D’Andrea and 
Henr,y Slate, socking across their 
"Drab Olive” funnies. This Davis 
lad is one of the great talents in 
show biz and even repeats don’t 
seem to impair his high popular- 
ity. 

Cantor brought back Private 
Eddie Fisher for a song and pitch 
for airborne recruiting, both done 
with unaffected aplomb. Sidney 
Fields,, former Cantor writer and 
now fully developed into one of 
TV’s better straightmen, foiled for 
Cantor in a burley bit that kept 
the laughs rolling. Sharon Baird 
tapped her tiny footsies for the 
usual burst of applause. 

Show marked the entry of Sid 
Kuller as producer-director and 
the end result-justified Cantor’s 
choice.* 1 Al Goodman’s musical 
backup was noteworthy. • 

Colgate’s cartooned connectives 
seem to. be losing their impact be- 
cause of constant repetition. 

Helm. 


PAUL DIXON SHOW 
With Dotty Mack, Wanda Lewis 
Producer-writer: Dick Perry 
Director: Len Goorian 
60 Mins.; Mon.-thru-Fri., 3 p.m. 
Sustaining 

DuMont, from Cincinnati 

Paul Dixon, who's made a career 
for himself on TV of pantomiming 
pop and novelty disclicks, preemed 
a new cross-the-board daytime 
series on the DuMont web Mon- 
day (29) which looked as though 
iJt will be no better or no worse 
than his brace of shows on the 
ABC-TV web last season. As 
basically a deejay show which 
viewers don’t necessarily have to 
watch in order to enjoy, it should 
do fairly well in its 3 to 4 p:m. slot 
on DuMont. 

Number of performers, especi- 
ally recording artists, will have a 
major gripe against Dixon — and 
rightfully so — ‘for the program. It’s 
a parasitic affair, in which the 
emcee capitalizes on the talents 
and hard work of others via his 
miming their disks. Not that he 
and his assistants, Dotty Mack and 
Wanda Lewis, don’t work hard 
themselves in going through their 
places, but it seems extremely un- 
fair that they can earn their pay 
for something which is the work 
of others. 

Trio is backed by a number of 
sets, none of the lush variety but 
certainly sufficient for the songs 
Besides the panto rou- 
i tines. Miss Lewis also draws car- 
| toons to visualize several of the 
Milton Berle’s second edition of numbers. It’s a new approach to 

( t m n i m I _ j li * . . * . . . 


his new "Texaco Star Theatre” on 
NBC-TV Tuesday (23) showed a 
marked improvement over the ini- 
tialer, giving evidence that the 
revised format may pay off with 
sock entertainment values. It was 
an uneven show, with some weak 
spots, but where it clicked it was 
plenty potent — and overall it was 
a highly enjoyable hour. 

The plot thread was the coming 
of a new director, Gregory Ratoff, 
and the byplay between the Holly- 

(Continued on page 102) 


TV deejay programming, which 
would get by if it were not for 
that parasitic quality. DuMont is 
selling the show on a participating 
basis but no bankrollers had signed 
on prior to the opener Monday. 

Initialer emanated from Du- 
Mont’s Ambassador Theatre, N. Y„ 
but as of yesterday (Tues.), the 
show moved back to Dixon’s home- 
town of Cincinnati, from where it 
will emanate from WCPO-TV, 
DuMont’s affiliate in that city, 
i Stal. 




102 


KABIO-TELET12SION 


Wednesday, October 1 , 1952 


PIBiiEff 


Television Reviews 


Continued from page 101 


the presentation of the performers, 
■for which the production crew on 
this show can also take a bow. 
Opening program was a crowded 
entertainment of many perform- 
ers, many numbers — and all dis- 
tinctive for its fine production 
touches. 

Basic ingredient of this show, 
aside, from the gracious Waring as 
the introducer, is the facile light- 
ing that serves always to enhance 
a sought-for mood.. Added to this 
is the manner in which the direc- 
tion has been able to maneuver 
the performers deftly without loss 
of pace. 

Waring’s seasonal opener was a 
polyglot of many entertainers in 
the musical vein, and was con- 
sistent with Waring’s opening sug- 
gestion that he was going to pre- 
sent a little of many entertain- 
ments during the season. He 
punched home that idea on the 
very first show as he presented a 
little opera, vaude, etc. It’s doubt- 
ful if any phase was left out as the 
unit proceeded to run the gamut — 
and on a half-hour show. too. War- 
ing must certainly have wished 
that he was back on the 60-minutc 
grind, so that he could have gotten 
in a little more of each. 

Of the multiple bits of enter- 
tainment, the more notable ones 
were the “Capricio Espagnol” sym- 
phonic arrangement, with Waring 
batoning the orch and Nadine G<*e 
and Marc Breaux doing the terp 
accomp; and the finale “JCol Ni- 
dre,” in deference to the Jewish 
High Holiday, Yom Kippur, which 
started the same night. The latter 
■was shrewd showmanship as done 
by the entire choral ensemble, 
with Joanne Wheatley the soloist. 
The .showmanship was particularly 
evident in that the traditional He- 
brew chant was done with English 
lyrics. It was typical of the overall 
show’s good taste. 

Aside from those already men- 
tioned, the rest of the layout had 
no standouts because of the neces-. 
sary brevity of each performer’s 
spotlighting. Nevertheless, there 
were meritorious performances also 
by Frances Wyatt, Joe Marine and 
Daisy Bernier, all vocalists. Red 
Barber and Joan Woodward did the 
sales spiels for General Electric. 

Kahn. 


WHISTLE STOP USA 
With Charles Collingwood 
Producer: Bill Workman 
Director: Ted Marvel 
30 Mins.» Sun., 3:30 p.m'. 

CBS-TV, from New York «, 

The presidential campaign has 
given tele plenty of opportunity to 
put its best foot forward and CBS- 
TV’s ‘‘Whistle Stop USA" is a case 
in point. Series captures the dra- 


matic intensity of the campaign viA 
well-edited film clips which digest 
the past week's political highlights. 

The half-hour coverage is knit 
together by Charles Collingwood, 
who fills the narrator’s slot with 
top reportorial style. He lets the 
films speak for themselves and in- 
serts just enough gab to keep the 
stanza fluid and exciting. On show 
caught Sunday (28) highlights were 
Gov. Stevenson’s address at the 
American Federation of Labor 
meet in N. Y., Stevenson’s southern 
fried chicken feed at Vice Presi- 
dent Alben Barkley’s home in 
Paducah, Ky., Gen. Eisenhower’s 
speeches through J;he midwest and 
the Sen. Nixon payola drama. Fast 
week was probably the most excit- 
ing since the campaign began and 
the stanza wasn’t caught napping. 

Calibre of the films (shtft by 
Telenews Productions) was top- 
grade and producer Bill Workman 
and director Ted Marvel did a fine 
job maintaining pace and interest. 

Gros. 


SCIENCE IN ACTION - 
With Dr. Earl C. Herald; others 
Producer: Ben Draper 
Director: Verne Louden 
Writer: Larry Russell 
30 Mins., Tues., 7 p.m. 

AMERICAN TRUST CO. 
KRON-TV, San Francisco 
( M cCann-Erickson ) 

This is the tops in local live pro- 
gramming. 

It combines a healthy budget 
with the resources of the California 
Academy of Sciences. It couples 
two years of experience '"with 
shrewd, show-wise, masterminding 
by Producer Ben Draper, of the 
Academy staff. 

Show is getting stopp shouldered 
from its many awards, but there’s 
nothing high hat, highbrow or 
standoffish about its content. That’s 
why it’s a consistent eye-catcher. 

It’s beginning its third year on a 
new station after two seasons wikh 
KGO-TV. Draper is also working 
with a new star, a new director 
and a new announcer. The new 
combination has not quite regained 
the smooth, popular appeal it en- 
joyed under the emceeing of Dr. 
Tom Groody. Doctor Groody. who 
left to do his own "Science Lab- 
oratory” daily strip, was a show- 
man as well as a scientist. 

The new host. Dr. Herald, is 
comfortable before the camera but 
lacks the humorous, human touch 
that made Groody so popular. 

"Science In Action" handles one 

scientific topic each stanza, ex- 
plores it with visual demonstra- 
tions, films, models, drawings, dra- 
matic vignettes and guest scien- 
tists. 

Second show of the new season 


was a spellbinder for this area-— 
"Shakes, Tremors and Faults. ’ 
With the aid of six film clips, three 
slides, nine models, blackboard 
drawings, on-camera demonstra- 
tions and two University of Cali- 
fornia guest scientists, Dr. Herald 
made the earthquake story jump 
with realism. 

He demonstrated the causes of 
earthquakes, how they are meas- 
ured, how their effects can be less- 
ened, especially through building 
construction. 

Script by Larry Russell was a 
thoroughly researched, lively job 
that made for easy viewing. Like 
all "Science In Action" programs, 
this one, despite its new personnel, 
retained a smooth-flowing contin- 
uity thanks to a four-week process- 
ing and a full day of oncamera re- 
hearsal before hitting the tele- 
screens. 

Commercials are institutional 
and informative, usually feature a 
young scientist from a Bay area 
high school. 

Each show is tagged with an 
"Animal of the Week” feature, this 
time a lizard found around ; the 
Gulf of California. Dwit. 


Tele Followups 

- — ■ - 7 ~- Continued from pace 101 - 

wood actor-megger and Berle over 
how the stanza is to be pitched. 
There was a delightful segment 
when Ratoff was speaking Russian 
and Carmen Miranda spieling Por- 
tuguese with Berle in between. 
Comic put signs labelled "Brazil” 
and "Russia” in front of his guests 
and donned earphones to enact a 
cute United. Nations takeoff. Twist 
was Berle’s gabbing about the 
“gismo” and the "switcheroo,” with 
the translator stumped by the 
"delegate from Flatbush.” It was 
scripter Goodman Ace at his best. 

Another topflight segment was 
the finale, which started with two 
moppets from Jersey reprising 
their "Uncle Miltie” song from the 
previous edition. Ratoff decided to 
make a big production out of it, 
and what followed was deft spoof- 
ing of over-produced Hollywood 
filmusicals, kicking off with the 
20th-Fox trademark fanfare and 
spotting the song as done Latino 
style by Miss Miranda and her trio;- 
as a cowpoke opus by Bobby Sher- 
woojl ("Do Not Foresake Me, Uncle 
Miltie”); as a hillbilly chant by 
Jean. Vallee; in the military 
manner by Jack Cowans; as the 
death of a swan by a ballerina; as 
a chorus routine, etc., winding up 
with the entire cast on stage aug- 
mented by an elephant and a circus 
gal- doing an iron jaw whirl. It had 
showmanship, flash and good satire. 

Ratoff and Miss Miranda regis- 
tered effectively throughout. Gene 
Baylos, as a mad-genius camera- 
man, got some laughs, although his 
running gag was overworked. Ruth 
Gilbert, as Berle’s secretary who 


TV Premiere - October 3 


on 


Stations 


THE ADVENTURES OF 
OZZIE AND HARRIET 


Sponsored by: 

HOTPOINT APPLIANCES AND LISTERINE 

FILMED IN HOLLYWOOD 

VOLCANO PRODUCTIONS 


Inside Staff— Radio 

O. W. Riegel, of Washington & Lee U„ Lexington, Va., has invited 
the AM and TV industries to submit nominations for the 10th annual 
Alfred I. DuPont awards. 

Prizes or$l,000 go to a radio or tele news commentator, an AM or 
TV station with over 5 kw signal strength and stations of 5 kw or less 
power. Individual awards are made for "aggressive, consistently ex- 
cellent and accurate gathering and reporting of news.” Station awards 
go for "outstanding public service,” Deadline for nominations is 
Dec.. 31. 


Tex McCrary, who bowed off radio and television last spring in order 
to campaign for Republican Presidential nominee Dwight D. Eisen- 
hower, will be back after the election — but in a new role. Instead of 
rejoining his wife, Jinx Falkenburg, on their radio and TV shows via 
WNBC and WNBT, the NBC web’s N. Y. flagships, McCrary will have 
his own news program. 

Explaining the reason for the switch, station execs cited the fact 
that McCrary is basically a newspaperman, having been an editor for 
the N. Y. Daily Mirror prior to entering broadcasting. He ankled his 
radio and TV shows so that the stations would not be accused of 
partiality in the Presidential campaigning-, and Miss Falkenburg has 
had the two shows on her own since then. 


CBS Radio’s Presentations Division has compiled into brochure form 
findings of the special Pulse study taken in the N. Y. metropolitan area 
of the amount of listening to the four major radio flagships done in 
TV homes. Web is mailing the brochure out to agencies, clients and 
other interested parties. 

Study, taken especially for the web, was detailed in Variety several 
weeks ago. Its major findings reveal that about 20% of all TV homes 
in the area are tuned to radio at any evening hour from 6 to 11, and 
that the four network AM stations draw more than half of all night- 
time radio listening. It had previously been supposed that TV set- 
owners not wishing to tune in their video sets would turn to the indie 
radio stations, with their emphasis on music and news. 


is blindly in love with her boss, 
had overtones of other comic 
femmes Ace has scripted and came 
over as a character who will build. 
Roland Winters was so-so in his 
lampoon of the "producer.” 

All in #all, ditching the vaudeo 
framework seems to have lent this 
entry a faster pace and provided 
some effective comedy situations. 
Some of the gimmicks fell flat, as, 
for instance, the life-sized human 
ashtray. Berle himself was in good 
form, putting over a bit with a 
hypochondriac doctor, displaying 
his skill at the quick insult in some 
of the give-and-take with Ratoff 
and doing a neat turn in yocking 
up a song. Production, including 
Alan Roth’s musical background- 
ing, and better-than-average cho- 
reography and direction, was 
smoothly handled. Mid-commercial 
by ventrilo Jimmy Nelson and his 
three dummies was easy to take. 

Bril. 


Jackie Gleason’s second outing 
on CBS-TV last Saturday (27) can 
be chalked as an improvement over 
his Sept. 20 preem. While no big 
rouser by any means, it was a bet- 
ter encaser of the Gleason type of 
boffoonery. For one thing, he’ re- 
introduced his character, "The 
Loudmouth,” grabbing a succes- 
sion of laughs in his antique dime- 
piece set-to with partner Art Car- 
ney, complete unto a snappy albeit 
deliberately telegraphed phono- 
finish. For another, the big clown 
had a sock finale sketch in his 
Reggie Van Gleason III persona- 
tion set within an actual wrestling 
ring (supplied by Everlast). 

While nearly all of the pantoed 
shenanigans' with the beefy rasslers 
was on a familiar route, the pro- 
duction getup preceding the two- 
team bout was an extension of the 
fancydan grapplers and their fab- 
ulous entourage. Here Gleason was 
fanfared down the studio aisle, 
borne in a litter amid potentate 
pomp and stepping into the ring as 
a leopard-skinned, silk-hatted and 
be-caped darling of the Greco- 
Roman jousts. 

This wasn’t all dazzle sans sweat, 
however. Gleason proceeded forth- 
with to strong-arm his opponents, 
including his teammate and the j 
referee, in a tossing affray that \ 
rivaled video wrestling in its most 
rambuctious moments. Carney as 
the announcer was a realistic gem. 
Gleason. was .so -spent, ai the ppri 
that he just managed to puff out 
his "goodnight.” 

In the guest act portions, Patti 
Page (who preems her own show 
on NBC Oct. 8), wholesome looking 
in an off the shoulder job, piped 
a couple of numbers including the 
ballad, "You Belong to Me,” to add 
luster to the session. The Jimmy 
Dorsey orch, with JD fronting on 
the clarinet (Gleason introed him 
as "the world’s greatest saxophon- 
ist”), bounced over a pair of items, 
with *he maestro allowing good 
solo licks by fhe sax. trombone and 
trumpet group drafted from the 
full crew. Joan Holloway sizzled 
the screen via whirling taps, double 
spins, cloggery and one-foot rotary 
to grab a salvo score. 

Gleason’s running sketch. "The 
Iloneymooners with Audrey Mea- 
dows, Carney, and Joyce Randolph, 
was funny in spots in its pegging ! 
around a pair of live gobblers and 
a misplaced wedding ring. 

The up-front portion was good 
warmer-uppering, featuring the 
Marilyn Taylor Dancers (chore- 
ographed by June Taylor) in a sil- 
houetted cane and topper terp 


winding in precision kick. This 
segued into Qleason’s song and 
dance stanza with one of the gals 
for his trademarked soft-shoe work- 
out. In the followup gag inning 
with Gleason, Stan Ross, made up 
as a wraith-like bellhop, drew some 
chuckles, but questionable whether 
the queerie stuff is good entertain- 
ment, aside from the taste angle. 
His a la Cantor "Susie” was a win- 
ning routine. The Schick Razor 
commercial, again slotted late in 
the show' for the one message, was 
a live anJ film combo on the plus 
side. Trau. 


Texas Time for Decision’ 
Takes Up Vital Issues 

Houston, Sept. 30. 

A series of programs on the 
schools of the Houston Indepen- 
dent School District, their needs, 

the $20,000,000 school bond issue 
to be voted on Nov. 4 and its effect 
on the local tax rate, w T ill be tele- 
cast on KPRC-TV for a half hour 
each Thursday evening. Series will 
be titled "Time for Decision.” 

Format will include dramatiza- 
tions and panel discussions on 
each telecast. Local stage and TV 
actors will participate in the 
dramatic portions. 

John Paul Goodwin will produce 
the series and will act as moder- 
ator for the panel discussion por- 
tion. Annie Nathan will write the 
series which Gene Osborne will di- 
rect. 



Now starring on NBC's 
ALL STAR REVUE 
Saturdays, 8-9 p.m., EST 

Mgt.i William Morris Agsncy 



Wes Whitcomb 

MIKE WANTS YOU ON SPOT 


(Pleat e Contact at Once ) 

HARP0 MARX 


NBC.- TV 
RCA-VICTOR 

Mgt.: GUMMO MARX 



Position Wanted 
SECRETARY-GAL FRIDAY 

Formerly with radio-TV personality; 
Eight years experience. Volume *no 
responsibility. Travel If required. Ref- 
erences. Write Box m, Variety/ ACT 
N. Michigan/ Chicago 11/ Ml. 



Wednesday, October 1, 195 2 


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104 


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From the Production Centres 

♦ »»»»♦» ■»♦ 4 ♦ ♦ MM MM UHUMf 

JT7V 1VEIT YORK CITY . . . 

Ted Husing, the WMGM disk jockey, was in hosp fpr a week for his 
sacroiliac; indie’s other platter-spinners are subbing .... Gilbert Highet, 
Columbia U. prof and Harperls mag book critic, preems a book review 
series on WQXR Tuesday (7) at 9:45 p.m. . . , Robert 'A. Monroe, for- 
mer WFTL (St. Lauderdale) announcer, is a new World Broadcasting 
field rep; Stephen Rooney, ex-salesman for Pittsburgh Post-Gazette, 
added to the Frederic W. Ziv sales force . . . Nancy Hanson, wife of 
WMGM flack chief Jo Ranson, returning on the S. S. Liberte after 

three months in Europe Wife of Emilio Azcarraga, Jr., Mexican 

radio-tele exec, died in Doctors Hospital Monday (29). 

American Women In Radio & TV will hold a town hall forum on 
the Presidential race at its first fall meeting Monday (6), with ABC’s 
Pauline Frederick moderating .... Peggy Warner, Bill Cullen’s private 
sec, on a two-week vacation in Miami; her first stop was a TV station 

. . . Henry J. Katz added by Weintraub agency as a media buyer 

Patsy Campbell returned from vacation with a 65-week renewal as title- 
role star in “Second Mrs. Burton”; contract includes a clause covering 
televersion possibilities .... WHLI-FM preems “Vistas of Israel,” Israel 
Office of Information transcriber, tomorrow (Thurs.) .... Ethel Owen, 
Arthur Kohl and Pat Hosley added to “Helen Trent” cast .... Peter 
Capell new to both “Our Gal Sunday” and “Stella Dallas.” 

Robert Blake, former WOR publicity topper, starts a course in flack- 
ing at New York U . . . George A. Schmidt, for 18 years an account exec 
at WOR, joins Stella Kant’s organization as a sales rep for Mary Mar- 
garet McBride. . . .NBC’s Doris Corwith will go to the Coast after the 
elections to produce four “Eternal Light” broadcasts for Jewish Theo- 
logical Seminary, and will also do other work for the web on the trip 
. . . George F. Foley, indie packager, has set up a merchandising de- 
partment to be headed up by Joseph F. Kelly, Jr., formerly with Gim- 
bel’s and Lord & Taylor. . . .WINS’ John Bosnian is waxing spots with 
leading politicos plugging registration. .. .Freddie Bartholomew and 
James Tuck doing “Manhattan Byline” on WVNJ in the 11 p.m. to 1 
a.m. slot, replacing Jim Moran and Ivan Black, who exited Friday (26) 
.... Bernie Wilens, ex-William Morris agency staffer, handling personal 
management chores for disk jockey Hal Tunis. . . .Jack Lightcap, WINS 
sports director, starting a cross-board 7:45 p.m. show on the indie 
and will also do five-minute grid summaries at 4, 5 and 6 p.m. on Sat- 
urdays. 

IN HOLLYWOOD ... 

Like Thompson’s Hal Rorke before him, Foote, Cone & Belding’s Dick 
Davis prefers our smog to Chicago’s soot. They gave up identical posts 
— radio and TVtoppers — to get back into commerce here. It was Davis’ 
father who brought the great racehorse, Phar Lap, here from Australia 
. . . .There’s so much activity at Young & Rubicam and Benton & 
Bowles that they've been forced to take additional space on other floors 
.... Gail Smith around to check On Procter & Gamble’s fall entries .... 
ABC’s prexy, Bob Kintner, always "a welcome visitor, in town for a few 

days with a loaded docket Maj. Jerry Ross will be back at ABC next 

month, when his hitch is up. . . .Joel Malone and Roswell Rogers, who 
used to be writers in radio, are now panel quizzers in TV. . .• . CBS Pacific 
network reports biz 30% over last year at thft time. . . .Robert Sutton 
came in from Minneapolis to replace George Allen as CBS program 
director .... Ed Buckalew east for three weeks to ferret out biz for CBS 
Coast skein. .. .Raymond R. Morgan’s “Lucky U Ranch,” one of the 
Coast’s top rated western shows, is being “stripped” on the Don Lee 

net for half-hour each day Tom Harrington of Bates agency hustled 

back to his home base after saturating the town with Life ciggie radio 
spots .... Mark Scott, whose calling of the IJollywood ball games on 
KFWB last season wo# him the accolade of “radio’s best baseball an- 
nouncer,” was totd by Harry MaizHsk, prexy r "You^ve got-a- job as long 
as there's a station.”' 


• • • 


IN CHICAGO 

Chi NBC veep Harry Kopf trained in to New York for a round of 
quickie huddles with homeoffice execs .... John Bryson doing a Friday 
night sports wrapup for ABC .... NBC commentator Clifton Utley gave 
the Chi Headline Clubbers the lowdown on his recent round-the-world 
junket last night (Tues.) . . . .Fred Wagenvoord, manager of KCRG, Cedar 
Rapids, making the Chi rounds last week Billy Graham’s Evange- 

listic Foundation has ordered a Sunday half-hour for another year on 

ABC for the preacher’s “Hour of Decision” Harold Gingrich, indie 

packager, has penned two get-out-the-vote jingles waxed by RCA Vic- 
tor and being distributed by Kiwanis International. ., .WBBM promo- 
tion writer Pat Wright has departed to join Morris B. Sachs as radio- 

TV director Deejay Eddie Hubbard launches a daily 90-minute disk 

roundelay on WENR. Two five-minute news inserts during the late 


Your Top TV 

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Wilmington, Del. 

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Represented by 

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N- w YorL Los Anf JP ies San Franc. sco Ch.cr.no 


afternoon show will be gabbed by Bill Despard. . . .Longines-Witthauer 
has taken over the 6:15 spot nightly on WMAQ for transcribed “Sym- 
phonette” airers. ...Mutual research director Dick Puff in for meetings 
with Central Division execs. .. .William Clark, BBC political analyst, 
scanning the Windy City radio scene... .Ted Battermsfn has joined NBC 
as recording engineer .... Saxie Dowell doing a nightly platter spinning 
show via WGN....Jack Ryan, ex-Chi NBC press chief, now settled in 
Appleton, Wis. 


Wednesday, Octob er 1, 1952 

'Connoisseur’ Hits 300th 
Broadcast at WNYC For 
Unusual Longhair Mark 


IN SAN FRANCISCO . . . 

« 

Arthur Hull Hayes named radio chairman of the first United Crusade 
of the Federated Fund in San Francisco. . . Jimmy Dolan, western 
warbler, preemed’ an hour-long daily airer on KYA.,..BilI Hillman 
resumed his annual “Winter Concert” recorded series on KSFO; on 
same station Ilcrb Kennedy launched a 6:15 a.m. early bird news show 
cross the board. . . .Jules Dundes, KCBS sales director, back from three 
weeks in Gotham, Detroit and Chicago. . . .KJBS’s Frank Cope, patriarch 

of the disk jockeys, became a grandpappy for the fourth time 

Del Gore jockeying new “KROW Ka per” show for KROW-. . . . KCBS 
loaned out producer Norm Kramer _and engineer John Hoskins for three 
weeks to prepare documentaries fo%the United Crusade charity drive 

KSJO and KYA beaming Notre Dame games via Irish network, 

first time in this area . . . Barbara Allen voicing new morning chatter 

show on KVSM R. H. Hagen airing nightly “Apropos of Opera” 

series on KE AR . . . . Cy Perkins, formerly of National Barn Dance, play- 
ing nightly at the Pago Pago Club, and' guesting on TV with his nephew, 
Rusty Draper. 

IN PITTSBURGH ... 

John Price, who recently resigned from Harry Kodinsky’s Public 
Relations Service, and his brother, Howard Price, for years an editor 
in the Washington, D. C., bureau of the Wall Street Journal, are open- 
ing their own advertising office in the Carlton House . . . Buss Aston 
and Bill Hinds have taken over WDTV’s “Studio Control” program for 
two weeks while Bill Brant is honeymooning in Bermuda with the for- 
mer Patricia Hanst . . . Lionel Poulton, KDKA producer, and Dal 
Jackson, of the continuity department, "have resumed teaching again, 
Poulton at Carnegie Tech and Jackson at Duquesne U. Both of them 
are instructors in radio . . . Don Tragesser, KDKA salesman, and his 
wife have dated the stork again, for the third time . . . Simulcast of 
Wilkens Amateur Hour, which just resumed on WDTV, has switched 
from WCEA, after five years, to KQV. Lack of facilities at WCEA 
since it moved to smaller quarters was the reason for the change , . . 
Kaufmann’s department store finally going in for teevee. They’re 
sponsoring the Fitzgeralds over WDTV once a week (Monday) on a 
hot kine. 

IN CLEVELAND ... 

Jimmy Fidler emceed the WEWS Saturday (28) night fund-raising 
stint for Kiwanis Club’s “Kid’s Day” .... Meg Zahrt, formerly Broad- 
casting Bureau in New York, is with WAGR as “retail specialist” .... 
Lee Sullivan, ex-“Brigadoon,” is> doing a disker stint on WERE along 
with his TV shows. WJW has sold the “Game of the Week” locally 
to White Motor Co., 80-store Gray Drug has given McCann-Erickson 
go-ahead for TV promotion in Ohio and Penn .... Jane Stevens has 
resigned as women’s director of WJW for a try in San Francisco .... 
WGAR disker Hal Morgan has closed shop at Herman Pirchner’s Eldo- 
rado Club to resume spins from studio .... Thomas B. McFadden, NBC 
veep, Gerard Johnston, Kudner, and Donald Stewart, Texaco advertis- 
ing manager, in town to discuss NBC program purchases here. . . .Ted 
Smoot, AFRA executive secretary 7 , announced union has voted to be- 
come AFTRA. 

IN PHILADELPHIA ... 

New staff assignments and promotions have been announced by 
Charles Vanda, v.p. in charge of television for the WCAU stations. 
Associate director Bill Bode has been named staff director. Mort Cha- 
[venson has been named assistant art director, effective immediately. 
Bob Swanson, formerly with WCAM, Camden, and John Dean, for- 
merly with WTEL, have. been appointed staff announcers. . . .Jack Dolph 

and Jerry Taylor have joined WCAU station’s production staff 

Dr. Roy K. Marshall, conductor of WPTZ’s “The Nature of Things 
Program,” has just had his newest book, “Sun, Moon and Planets,” 

published by Henry Holt Co Roddy Rogers, exec producer for 

WFIL-TV, will conduct a course In Television Production for the Main 
Line “School Night” Association, starting Oct. 6 Pauline Comanor’s 
“Cartoon Party,” WPTZ juve show, has been expanded to twice weekly 
by its sponsor, Southern Biscuit Co., of Richmond, Va. Bob Benson 
announces the segments .... Roger W. Clipp, general manager WFIL- 
TV and WFIL, has been named chairman of the United Fund’s clubs 
and entertainment division. John D. Scheuer, Clipp’s operations as- 
sistant, will act as his vice chairman in the fund drive. Donald S. Kel- 
lett, administrative assistant at WFIL-TV, was appointed to the post of 
chairman of the sports division of the United Fund .... Charley King, 
of.WPAZ, Pottstown, Pa., won the world’s first Disk Jockey Derby in 
the stock car races (27) at the Municipal Stadium, triumphing' over a 
field of a dozen platter spinners, from this area who took part. 


U. of P. vs. NCAA 


Continued from page 97 


Field had been sold out in advance; 
that it would be a public service 
to shut-ins and thousands of others, 
and that it would interfere with 
no local grid games. 

...... Th.e_ Jetegraros. jLtarted_.Mpn.day. 

with Murray’s initial request to 
Bob Hall, chairman of the NCAA 
committee, and Asa Bushnell, di- 
rector of the NCAA program. From 
then on the wires burned between 
the participants, and two Phila- 
delphia dailies commented upon 
the sidelight of the interchange 
that in most cases, the newspapers 
received copies of the wires be- 
fore they reached the persons they 
were intended for. 

The N.CAA acceded to Murray’s 
initial request, giving permission 
to WPTZ to switch to the Penn- 
Notre Dame contest and also gave 
permission for the other two 
Philly stations, WFIL-TV and 
WCAU-TV, to carry the game if 
they so wanted. 

Murray promptly wired back 
that Penn preferred to have WPTZ 
carry the Princeton-Columbia 
game and let the other two chan- 
nels carry Penn-Notre .Dame. Hall 
and Bushnell replied flatly his pro- 
posal was in direct violation of 
the NCAA plan, and “could not 
be considered.” 

In its final statement Friday eve- 


ning, the NOAA told Murray he 
could go along with the NCAA 
and let the Philadelphia stations 
telecast the game, but not his plan 
to televize both games. 

Murray waited until J2:30 p.m. 
“Saturday Tan Hour arid a Iialf be- 
fore game time), before bowing 
to the authority of the NCAA, and 
then announced cancellation of the 
telecast. 


Greensboro, N. C.— Allen Wan- 
namaker, former WBIG announcer 
and now general manager of 
WGTM at Wilson, N. C„ has been 
named manager of WBIG* here, 
Charles H. Crutchfield, executive 
v.p. and general manager of Jef- 
ferson Standard Broadcasting Co., 
owner of WBIG, has announced. 
Appointment follows resignation of 
Henry Sullivan, manager of WCOG 
here since July, 1949. Sullivan 
will assume the position at Wil- 
son’s WGTM to life vacated by 
Wannamaker. 


“Music for the Connoisseur •» 
WNYC, N. Y.’s full-hour program 
of longhair music heard Tuesday 
evenings at 8:30, will mark it s 
300th broadcast next Tuesday 
night; (7). Program, started iS 
July, '46, has been on the air stead, 
ly ever since without pause, except 
for four or five Special evenings 
when it went off for elections, etc. 
David Randolph, its producer and 
commentator, has missed only one 
broadcast in the six years, when 
he couldn’t get back from an auto 
trip in time. 

Program is taped as, the broad- 
cast is being made, and tapes are 
sent out to National Assn, of Edu- 
cational Broadcasters headquarters 
at the* U. of Illinois, where 10 
copies of each are reproduced and 
fanned out to the NAEB web. Of 
the taped web of about 70 stations, 
62 carry the airer. The tapes are 
then returned to Randolph, who 
uses them again at WNYC. lie 
also has a Sunday at 5 program, 
which utilizes these tapes, usual- 
ly about a year after their original 
Tuesday airing. 

Program, which presents classi- 
cal music from any period (from 
the ninth century to date), has each 
hour devoted to a specific subject, 
idea, development, instrument or 
era. k Randolph, who started it, 
compiles and writes the whole pro- 
gram, using narration and disks. 
In the *60 minutes, there is an av- 
erage of 12 to 13 minutes of talk. 

Sometimes Randolph uses live 
artists, and occasionally has a 
name guest, like Aarqn Copland 
or Roy Harris, for an interview. He 
never plays long works, only short 
pieces or sections of works. Pro- 
gram has won an Ohio U. award 
for three years. Randolph has also 
received over 26,000 letters and 
cards from all types of listeners, 
from composers and musicologists 
as well as lay listeners, since the 
start. 

Randolph gets no pay or expense 
money for the program, although 
its preparation takes up the ma- 
jor part of his work week. In addi- 
tion to these cuffo chores, he gives 
two sets of lectures at N. Y. U., one 
being mtfsic appreciation for the 
layman; writes record notes for 
phonograph companies; reviews 
records for two trade publications; 
conducts a chorus in New Jersey, 
and directs the Randolph Singers 
in N. Y. Last-named, who special- 
ize in madrigals and early music, 
now record for Westminster. 


Yorkton, Sask. — A staffer with 
station CJGX, Yorkton, for 25 
years and manager for the past 
two, Art Mills has retired from the 
managership and will act as tech- 
nical and public relations counsel. 
J. M. Sportreed succfeeds as man- 
ager. Mills first signed the station 
on the air 25 years ago. He was 
chief engineer before becoming 
manager. 


r# 



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RAIMO-TEIJEVISIOIV 


PfisateTY 


Wednesday, October i, 1952 


106 


Television Chatter 


New York 

George Kamen talking a second 
series of vidpix with Ed and Pe- . 
green Fitzgrerald, open-enders which 
local department stores (outside of 
New York, where they are live TV 
for ABC, as well as on a.m. AM), 
but this time the Mr. and Mrs. 
team wants a percentage deal. 
First 13 was for a flat fee. Kamen 


& TV conducting drive to bring 
out the femme vote in November 
. . . Michigan Kroll, former writer 
on ABC-TV’s “Langford-Ameche” 
strip, rejoined National Founda- 
tion for Infantile Paralysis’ AM- 
TV staff. 


told them to submit their idea of 
a deal. 

WNBC-WNBT program director 
Dick Pack wings to Europe to- 
morrow (Thurs.) for three-week 
vacation . . . Pierre Crenesse, 
North American director of the 
French Broadeasting System, turns 
actor with role* in Moliere play 
for new Lilli Palmer film TV series 
to be syndicated by NBC-TV . . . 
Bill Lilling appointed program 
manager for WSBA-TV, York, Pa.; 
he was assistant production mana- 
ger at WJZ-TV for four years . . . 
Joan Borghese, Elmhurst, L. I., 
soprano, won the “Ladies Choice’’ 
talent contest run by Kathi Norris 
on WABD . . . Alex Segal, who 
directed “Celanese Theatre” on 
ABC-TV, will direct the web’s 
new “Seminar” educational series 
» . . Gridiron expert Norman L. 

. Sper, who does “Football This 
Week,” had 34 of 35 correct pre- 
dictions on the vidpic stanza’s 
preem. 

Richard Seff signed for the run- 
ning juvenile lead on WJZ-TV’s 
Sunday series, “Papa Cellini” . . . 
Lila Glaser, formerly Sol Ilurok’s 
secretary, now in the sales depart- 
ment of the PSI-TV division of 
Prockter Productions . . . NBC 
staff designer William Molyncux 
tapped to do the sets for the web’s 
upcoming American preem of Ben- 
jamin Britten's “Billy Budd” opera 
. . . Bud Palmer pacted to do the 
commentary for all sports events 
originating in Madison Sq. Garden 
and carried this season by WPIX 
. . . Dr. Mai Stevens, former Yale 
footballer and later Jhead coach at 
Yale and New York U., joined the 
announcing staff for CBS’ “Armed 
Forces Football” series . . . Dancer 
Ray Malone, formerly with NBC’s 
“Broadway Open House” crew, 
now a permanent cast member of 
CBS’ Garry Moore show. 

United World Films has started 
production on spots for Dunhill 
. cigs and General Tire & Rubber 
. . . Jay Barney plays lead on 
“Lamp Unto My Feet” Sunday (5) 
and featured on “Big Story” Oct. 

. . . National Assn, of Radio & 
TV Station Reps has gotten 83 sta- 
tions to agree to its standards on 
station identification breaks . . . 
Maria Riva and Scott Forbes do 
the title roles on “Kraft Theatre’s” 
“Michael and Mary” tonight (Wed.) 
* . . Ed Peck played an FBI man 
posing as a Communist Sunday 
(28) and does a Communist posing 
as a scientist tonight (Wed.), all 
on DuMont . . . Sylvia Sidney stars 
on ABC-TV’s “Hollywood Screen 
Test” Monday (13) . . . Martin L. 
Schneider, ex-DuMont associate di- 
rector, off to WOI-TV, Ames, Iowa, 
on a Ford Foundation-backed proj- 
ect . . . American Women in Radio 

■ M i l 


Hollywood 

Tex Williams launched h i s 
“Chuck'Wagon” over KNBH, orig- 
inating from Knott’s Berry Farm in 
Buena Park, with Johnson Wax 
picking up tab on one segment of 
hour-long show . . . Will Rogers, Jr. 
and Gov. John Lodge of Connect- 
icut guested on KECA-TV’s “First 
Time Voters” . . . “Movie Quick 
Quiz” shifts from daytime to night- 
time spot on KHJ-TV, with Steve 
Dunne emceeing . . . United Sport- 
ing Goods angels the Jesse Hill 
show, 15-min. sportscast which 
preemed on KLAC-TV, Frank Riley 
is producer-writer, Jordan Bayer 
associate producer . . . Newscaster 
Gil Martyn upped to news editor 
at KTLA, with Dick Keusink ap- 
pointed newsroom supervisor, and 
Jerry Birdwell added to news staff. 
. . . Tom Belcher out of the Army 
and back at KNBH as director . . . 
Bob Clampctt's “Time for Beany,” 
on KTLA, sold for 39 weeks to 
WGN-TV in Chicago, same period 
to WTTG in Washington and re- 
newed for 13 weeks by*WHBF-TV 
in Rock Island. 


Chicago 

Ernie Simon, now a WGN-TV 
exclusive pactee, gets back into 
video action with two upcoming 
daily shows. Starting Monday (6) k 
zany will emcee a morning half- 
hour variety show and Oct. 13 will 
resume his sidewalk interviews 
with a late-afternoon program 
beamed from the Tribune Tower’s 
Nathan Hale Court . . . WBKB is 
breaking in its new General Elec- 
tric wedge-wipe amplifier on Ul- 
mer Turner’s newscasts . . . New 
assistant tele director at NBC is 
Dave Parker, former radio-TV in- 
structor at Wayne U. . . . Dunhill 
cigs paying the bills for Joe Wil- 
son’s “Football Warmup,” pro- 
ceeding the NBC Saturday grid 
casts on WNBQ. Wilson, long 
identified with WBKB as baseball 
gabber before the indie dropped 
the Cubs telecast last season, has 
joined WNBQ as a regular: He 
bows this week with a cross-the- 
board sports show at 6 p.m. . . . 
Earl JMiintz has checked out as 
prexy of the Muntz Car Co. to de- 
vote fulltime to his TV manufac- 
turing firm . . . National Credit 
Clothing and Gottfried Motors 
have picked up weekly feature 
films on WGN-TV . . . Westbrook 
Van Voorhis, commentator on the 
“March of Time” documentary, 
due in next Wednesday (1) for a 
preview of the new series being 
bankrolled by Miller Brewing on 
ABC’s WENR-TV . . . Douglas Pro- 
duction has canned 500 new film 
sequences for Walter Schwimmer’s 
“Movie Quiclc Quiz” . . . Admiral 
Corp. announced it’s upping the 
tag on several of its new tele sets 
by $10 . . . Tony Weitzel, Daily 


Profitable TV Audience 
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LANCASTER, PENNA 


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Inside Stuff-Television 

Walter Winchell “took my show out-of-town,” as he puts it, staged 
three drv-runs preparatory to his TV debut next Sunday (5) over ABC 
and decided to stick to his standard technique— collar open, hat on’ 
and reading his news flashes as he has been doing on radio for almost 
20 years. As Ben Katz, head of Gruen Watch, assured him, “We bought 
a photographed version of your radio program,” and while Winchell 
experimented rather successfully with Tele-Que, there was one lapse 
where the script didn’t keep pace with his'Staccato delivery and he has 
finally decided to adhere to the original premise— reading from the 
ser'nf. Furthermore, he is contract-bound not to deviate from same 
undcr penalty of personal liability in the event of litigation, once the’ 
script has been 'Cleared. 

Winchell now has 27 TV outlets and it may build to 32 by weekend,. 
Dickers are afoot for New Orleans, Louisville, Syracuse and Utica! 
There is also the proposal to show his kinnie the next day in certain 
auxiliary localities but he is balking that for reasons of timeliness. 


CBS-TV has discontinued levying a charge against its advertisers 
for the spur line to the transcontinental microwave link up to Portland 
and Seattle, paying the line charges itself. Web's move, in no longer 
charging its clients for the spur line, indicates it will pay the entire 
fee for use of the N.Y. to L.A. facilities as soon as enough new stations 
take the air to break up the long haul, now stationless, between Salt 
Lake City and San Francisco. 

Web spokesmen explained that they were previously forced to charge 
their clients the $200 per hour fee for shows going to KING-TV, Seattle, 
since there was no other station between that city and San Francisco, 
where the western end of the transcontinental link is located. Now 
that Portland also has a video station, revenue from the two outlets 
is sufficient to permit the web to pay the spur charges on its own. 


NBC-TV's early-bird “Tqday” preemed a new feature Monday (29) 
with the airing of films specially lensed for the show of four top foot- 
ball games of the preceding Saturday. Pix were lensed by an indie 
outfit, however, and after looking at the cost sheets, the web decided 
henceforth to turn the lensing chores over to its own staff cameramen. 
As a .result, each Monday through the end of the football season will 
have 'only two games re-capped via the film system. Jack Lescoulie, 
one of the regular newscasters on the show, narrates the films. 


An appeal by a Belmar, N. J., mother on the CBS-TV “Strike It 
Rich” program to locate her missing teenage daughter led to finding 
the girl in Philadelphia an hour after the show'. Hoseman Anthony 
Pellegrini caught the program on the TV set at Engine Co. 43 and 
thought there was something familiar about the picture of the missing 
girl. Later sitting outside the fire station, Pellegrini spotted the girl 
whose photo had just appeared on the TV screen. The fireman talked 
to her while policewomen were summoned. The girl gave her name 
as Gail Cook, 16, of Belmar, N. J., and said she left home Sept. 19. 


Casting director Ruth Burch of Hal Roach studios on the Coast re* 
ports a 25% hike in New York thdSps trekking west for work in telepix, 
complete reversal of trend a year ago w r hen Hollywoodians went to 
Gotham for TV work. She reports tnesps tell her there’s plenty of 
video jobs in Gotham and pay’s good, but cost-of-living there is too 
high, plus fact most thesps are now convinced vidpix capital is to be 
in Hollywood. 

Miss Burch reports it’s increasingly difficult to land name stars for 
teleblurbs, even though the pay is as high as $5,000 for one or two 
days’ work. Stars shy away now, they don’t like that exclusivity clause, 
and some don’t feel it’s dignified to be associated with a product via 
direct endorsement. In past 15 months Miss Burch cast over 1,500 
telepix parts, and had 5,000 interviews. 


March of Time Vidpix 

- - ■ — Continued from pace 27 ■■■■ - ~ 


News “Town Crier” scribe, hosting 
a thrice-weekly gab session on 
WNBQ at 6:15 p.m. . . . WBKB 
lensed the Pontifical Mass at St. 
Michaels Sunday (28>, marking the 
parish’s 100th anni . . . Fran 
Weigel will work the pitches for 
Cribben & Sexton (Universal Gas 
Ranges) on the “China Smith” 
telepix debuting Oct. 2 on WNBQ 
. . . Arch Ward and Jack Brick- 
house’s Monday night “Sport 
Page” on WGN-TV has been ex- 
tended through Dec. 22 by the Chi 
Chrysler Dealers. 


San Francisco 

A1 Constant, KRON-TV program 
director, resigned to become TV 
general* manager for Denver Tele- 
vision Co., new group now apply- 
ing for construction permit in 
Denver. Doug Ellesen, KRON 
production manager, replaced Al, 
with Verne Louden upped to El- 
lesen’s old spot . . . Following his 
“All Star” stint, Jimmy Durante 
tripped to San Mateo to rest and 
watch the ponies at Bay Meadows 
. . . Dennis Day, Phil Harris and 
Tony Martin headlining two days 
each at Western Living and Home 
Exposition at Civic Auditorium 
. . . Lucille Bliss tallied her hun- 
dredth birthday party for her 
“Happy Birthday” series on KRON 
. . . Jimmy Lyons added to the 
Vernon Alley cast on KPIX . . . 
Marjorie Trumbull hosted home- 
coming party for Kay Mulviliill, ex 
KPIX flack now with- NBC, Holly- 
wood .... Lee Giroux’s “Sweep- 
stakes” bounced off KRON, landed 
on KGO-TV ... Ed Sullivan due 
in (6) to aid local United Crusade 
charity drive . . . Young & Rubi- 
cam junketing radio-TV scribes to 
Hollywood for the Joan Davis TV 
premiere and a look-see at the 
new Hotel Statler . . . Heap big 
protests from local viewers when 
“Mr. Peepers” stopped peeping 
. . . KGO-TV carrying the Big 10 
Football films. 


NBC-TV ‘Today’ 

-j r Continued from page 98 

now on network TV in which any 
bankroller can buy as few or as 
many spots as he wants and in any 
way he wants. For that reason, 
NBC is looking forward to a rush 
of business from the auto manufac- 
turers when they unveil their 1953 
models, and is also anticipating a 
landslide from a number of manu- 
facturers during the pre-Christmas 
selling season. 

Show wouldn't sell, however, 
unless it had a rating payoff, JNBC 
spokesmen said, and the fact that 
sponsors are coming in proves 
“Today” has achieved its audience 
pull. They cited the big rating 
payoff during the summer and said 
“Today” is now beginning to 
change viewers’ living habits by 
Turing them to their TV sets dur- 
ing the early morning rush to get 
to work and to school. Also con- 
tributing to the show’s success is 
the interest in the current Presi- 
dential campaigning. . Viewers, 
afraid of missing important devel- 
opments while they sleep at night, 
tune in the show first things in the 
morning to get the latest news 
flashes. 


Cleve. Theatres 

~-~ r: Continued from page 27 ‘ 

the Hipp, the Palace is using lobby 
display, trailers and newspaper ad 
tie-ins. In both instances, the the- 
atres are withholding details of the 
contest and telling audiences ... to 
watch WNBK for full details: 

Although there have been other 
spot tie-ins between theatres and 
TV, this is the first major all-out 
combo drive. It was stimulated, to 
a great extent, by NBC’s general 
manager Hamilton Shea's desire to 
establish WNBK as a “community 
station” and promote extensive use 
of live talent entertainment. 

WNBK’s sistter station, WTAM, 
also got info the act with the Hipp 
booming two huge lobby sign- 
boards telling the audience to listen 
to broadcasts of Cleveland Browns 
and Ohio State Football games, 
both WTAM exclusives. 

Although the parties involved 
won’t openly admit it, backstage 
reports indicate the promotional 
ventures will snowball into a major 
series of stage reviews, with 
WNBK telecasting morning stints 
from either or both theatres. The 
Palace is particularly well equipped 
to handle live shows. It’s reported, 
too, th^t unions involved will flash 
the green go-ahead. 


October, 1952, covering a variety 
of U. S. problems. 

MOT managing editor Fred Feld- 
kamp told Variety that the out- 
fit’s extensive foreign and domes- 
tic staff has been alerted to a 
nuhiber of upcoming subjects, and 
crews continually send in footage 
on these assignments. Among those 
in the works are reports on Ger- 
many, and the Canadian boom, 
and pediatrician Dr. Benjamin 
Spock. As the celluloid comes in 
it is roughed into shape, but final 
closing and scoring doesn’t take 
place until Monday, two days be- 
fore release. A print is in the 
hands of each outlet by Thursday, 
with some getting them on 
Wednesday. 

No Newsreel Competish \ 

Murphy said that MOT is not 
competing with the newsreels for 
speed, and that the features will 
be good for a full week or longer. 
In some cases, they are being 
screened later than Thursday, due 
to-- the fact -that the sponsor- -earne 
up with a better timeslot on an- 
other day. 

It’s not envisaged that the pix 
will be used in theatres, because 
exhibitors would not want TV-cir- 
culated shows, and the non-tele 
area is dwindling as new stations 
come on the air. Shooting and 
editing is geared to video, rather 
than theatre, viewing. 

In N. Y. “MOT” bows tonight 
(Wed.) at 9:30-10 p.m. via WJZ-TV. 
That ABO-TV key has had all 
four MOT vidshows, including 
“Crusade in Europe.’ 1 

Concentration on “MOT” has 
temporarily suspended production 
on “American Wit and Humor,” 


after 10 half-hours were completed. 
It will eventually be upped to 13 
show.s. Meanwhile, it’s being of- 
fered for sale and has been sold 
in Seattle. 

Time, Inc. outfit is also peddling 
“Ballets de Paris,” lensed by Jean 
Benoit-Levy in France. It consists 
of 26 quarter-hour ballets, adapted 
from fairy tales. 



Eileen BARTON 


AMERICAN MUSIC HALL 
and 

U.S. COAST GUARD SHOW 

EVERY SUNDAY. AIC, RADIO 
CORAL RECORDS Dir.: MCA 


SECRETARY 

Are you In a croatlvo field — Interested lH Re- 
taining service* nf outstandingly competent 
secretary who is taotful administrative assist- 
ant and top nstch correspondent? If so con- 
tact petit* pelted attractive gal who ean take 
over ysur detail reipomlbllitUs. $85. OKeoon 
5-2308 or write Nox 8032, Variety, I5f West 
<t6th Street, New York 35, N. Y. 


Would You Like to LIVE LIKE A MILLIONAIRE? 

Amatciir or professional talent with sons or daughters are ollgihl* 
audition for this national AIC radio show. For audition appointment 
talent or agent are invited te centact MASTERSQN, REDDY A NELSON 
direct. 745 Fifth AvenuA, New York City or ’phone FLaxa 7-1120. 


Wednesday, October 1? 195 % 



TV Writers Pact 


Continued from pa-E© — *» m ™ 

r7”for ballet or pantomime) will 
ce t $200 (commercial) and $150 
(sustaining). Lyrics without music 
will earn the same fees. 

Tunes and lyrics were included 
ln the pact since many of those 
writing or cleffing special material 
{or Broadway and TV revues are 
members of the ALA’S Dramatists 
Guild. Orchestrators and copyists 
are not covered. . 

Ske‘ches will get a minimum of 
$250 commercial and $175 sustain- 
in£« 

An important aspect of the new 
„act is that it limits the employers 
exclusivity rights, and othus pre- 
vents the indefinite shelving of a 
nroDerty. If the material isn’t aired 
within the specified period, the em- 
ployer’s rights in the script are 
ended. When a script is broadcast, 
employer has exclusivity for a 
stated period and can extend his 
rights by additional payments (to 
a maximum of 16 years), but he 
must also air the script periodical- 
ly, paying the repeat fee each time. 

Further, the writer keeps all 
rights other than TV rights. How- 
ever, during the period of exclu- 
sivity, the writer will not license 
certain rights, (such as film) ant * 
certain other subsidiary rights can 
be sold by the writer within speci- 
fied periods. On the other hand, 
the employer may dispose, of rights 
for serials, providing the writer 
gets a fixed share of the incoipe. 

Key Principle 


non-cancellable 39 weeks; the day- 
time, show for 26. It presents a 
$2,000,000 outlay for General 
Foods. 

No television is involved in the 
GF pact. Hope is already com- 
mitted to Colgate for a number of 
appearances on the Sunday night 
NBC-TV “Comedy Hour.” 

Jell-O deal was negotiated by 
Young & Kubicam, agency on the 
account. 


WDTV Cuts In on Pitt UHF 
Bid; Pirates Tie Seen 

Pittsburgh, Sept. 30. 

First of three UHF channels al- 
located to Pittsburgh has just been 
applied for by a group which in- 
cludes two employees of WDTV, so 
far the town’s only TV outlet and 
DuMont owned-operated, among 
its incorporators. They are Larry 
Israel, sales manager for the Du- 
Mont station, . and Don Faust, as- 
sistant to Harold Lund, general 
manager of WDTV. 

The other three names on the 
application are Tom Johnson, 
lawyer and vice-president of the 
Pittsburgh Pirates; William H. Rea, 
and Henry Oliver Rea, the latter 
two business and civic leaders here. 

There’s already talk in the trade 
that Johnson’s appearance in the 
setup may eventually mean that 
when and if the telecast rights to 
the Pirates’ baseball games are 
sold, the UHF’er stands the best 
chance of grabbing them off. 



New Orleans — Dick Bruce, 
WDSU AM and TV announcer, has 
resigned to join the staff of WLW, 
Cincinnati. 


PSniETY 

I- ' ' ■ 


I W0R-TV 

Continued from page 99 * 

the 5-6 frame (except on Wednes- 
day when it will start at 5:30). 

“Music and Silhouette” departs 
from the 7-7:30 p.m. strip and “TV 
Dinner Date” will expand into 6:30- 
7:30 p.m. “M&S” will be heard on 
Saturdays only, at 7 p.m. 

Fred Robbins’ “all-night” show 
gets trimmed to one hour, in the 

II p.m. stretch. “Dave Elman’s 
Curiosity Shop” get heaved, with 
the double-feature film show start- 
ing at 8 p.m. Sunday instead of 
8:45. “Mac Perrin’s Tune Room” 
and “Roil & Gun Club” also go. 

Although orders were issued to 
Bob O’Connor, sports director who 
leaves after the World Series, to 
negotiate a settlement of contracts 
with sports promoters, policy has 
been reversed and wrestling will 
continue on Monday nights with 
boxingcasts on Tuesday and^ Thurs- 
day. Harness racing will go off, as 
will wrestling on Friday. Ralph 
Giffen, who handled the baseball 
pickups, was rehired, reportedly on 
an appeal from BBD&O agency. 
Wade also announced that the out- 
let will beam the Brooklyn Dodgers 
ballgames in the ’53 season. 


Jerry Rosen Info TV Agenting 

Jerry Rosen agency, formerlj 
concentrating on night club and 
vaudeville talent, is entering the 
TV casting field. New department 
will be headed by William Hunt, 
former associate producer of 
“Doorway to Danger” on NBC-TV. 

Stanley Kreshower will assist 
Hunt, handling musical variety 
shows. 


HADIO-TEIJEVISIOX 107 


Circling the Kilocycles 


Minneapolis — Although WCCO- 
TV is now carrying telecasts of 
professional league football games 
on Sunday afternoons; time for- 
merly assigned to Bishop Fulton 
J. Sheen’s talks, latter, brought 
here by kinescope, still are. being 
retained, being shifted to Sunday 
morning . . . Cedric Adams, Twin 
Cities’ top radio personality and 
a V r CCO staffer, receiving TV 
tests, now that station has tele- 
vision. He has never had any tele- 
vision shows or made any TV ap- 
pearances except when he once- 
substituted for Arthur Godfrey on 
latter’s talent show . . . Pure Oil 
Co. sponsoring WTCN’s University 
of Minnesota home and out-of- 
town football games play-by-play 
radio broadcasts which are pre- 
ceded by gridiron previews and 
followed by score roundups of 45- 
minute duration each. After the 
football feast, disk jockey Jack 
Thayer takes over for a five-hour 
record show. 


Cincinnati — Mike Spanagel, vet- 
eran of the film industry in the 
Cincy area, has resigned 'as assist- 
ant general manager of Mid-States 
Theatres to join WCKY’s sales 
staff. He was a salesman for sev- 
eral major distributors before 
turning exhibitor and gaining rec- 
ognition as a top booker. 


Forth Worth — Mike Carpenter, 
news editor of KTRN, Wichita 
Falls, was reelected prez of the 
Texas AP Broadcasters at the 
groups’ recent meeting held here. 
Chuck Hutcheson, news editor of 
KCBD, Lubbock, was named vee- 
pee and Jack Pink, "of KONO, San 


Antonio, was reelected secretary 
treasurer. 


Dallas — Tony Davis, town’s first 
and only Negro deejay, celebrated 
his first anni last week with full 
sponsorship on KLIF. His “Harlem 
Hit Parade” is a 90-minute, Mon- 
day through Saturday show at 11 
p.m. Davis also has two Sabbath 
airers, “Spiritual Hour” and “Mu- 
sic From the Past.” 


Minneapolis — Cedric Adams, 
town’s leading radio personality 
and newspaper columnist, has his 
first ma-jor book coming out Oct. 
23. Published by Doubleday, it is 
titled “Poor Cedric’s Almanac” and 
comprises the cream of his colum- 
nist effusions. 


Detroit — Stroh Brewery Co. has 
switched its sponsorship of Detroit 
Red Wing hockey games from 
WWJ-TV to WXYZ-TV. This is the 
fourth year of Strph sponsorship 
of the telecasts, but the first year 
at WXYZ. 


Cleveland — WNBK has signed 
television rights to 19th annual 
Case Tech and John Carroll grid 
contest from Shaw Stadium with 
General Motors, through Kudner, 
sponsoring the only local collegiate 
tilt to be seen this year. 


New Orleans — Jack Reavley, 
who prior to his recent discharge 
from the Army was manager of the 
Armed Forces Radio station in 
Munich, has joined the staff of * 
WDSU as announcer. Before en- 
tering armed forces he was spieler 
at KGKB, Tyler. Tex., and after 
that director of special events at 
KTBB, Tyler. 


A key principle is that the more 
the producer contributes to the 
value of the script by broadcasting 
it, the more he shares in the sub- 
sidiary rights. Employer gets 10% 
if sale to radio, films, legit, book 
publishers, etc., is made during hfs 
original period of exclusivity; 15% 
if sale occurs after a re-use; or 
25% if disposition is made after 
two or more re-uses, provided that 
the employer still has exclusivity. 
On episodic series, employer’s 
share ranges from 26%-5Q%, de- 
pending on whether the scribbler 
did more than 10 - scripts during* 
the year for the employer. 

If a writer gets a 13-week guar- 
antee, the producer earns a 10% 
discount. 

Audition scripts command 100% 
of the applicable fee. Writers 
who lack certain experience may 
be paid 75% of the minimum to 
do a trial script, but the additional 
25% must be paid if* the script is 
to be beamed. No scripts will be 
submitted on speculation, where 
payment is “subject to contingen- 
cies of any nature.” 

Scripter will be paid the full 
minimum for the first or second 
re-use of his material. Third re- 
use will cost 75% of the original 
minimum; each subsequent re-use 
will cost at least 50% of the orig- 
inal minimum. 

The paet stipulates that, authors 
are to get visual .credit on each 
show, in set places, arid a full 
frame credit if the producer or 
director ^ets it. Writers will get 
first crack at a rewrite, if one Is i 
necessary, and will not be required 
to do more than two rewrites. 

An anti-discrimination, provision 
states that the employer will not 
discriminate because of sex, race,, 
creed, color or national origin. Con- 
tract will be in effect for five years, 
with certain provisions such as 
_£ 0 in opened for re-negotiation af- 
ter two and four years. It calls for 
» 100% guild shop, with all free- 
j®?®® material to come from ALA- 
5WG members. 


Hope’s $2,000,000 

• Continued from page 97 sSm 

the best thing that’s happened 
radio in at least a year.” 

General Foods initially beg 
romancing Hope almost ' imme 
ate ly afte r Chesterfield had c; 
celled his nightime show, ale 

K? tbe Bin g Crosby program. < 
fad been interested in utiliz: 
he comic’s talents for a daytir 
only stanza, but Hope refused 
nR ’ sti H anxious -to embr; 
thft * me ra< *i° on the convict 
3- JP an e ra of. 100,000,000 ho 
l bilfeh h f AM medi um. still can’t 
I SE hed ?; slde * ' GF ’ & agreement 
a K so r . H °pe on both a dayti 

deal basis clinched 

ocal. Nightime deal is for a f 


1 i n . 

Account Executives! Time Buyers! 

No Other Radio Show Offers 
The Merchandising Extras 
of Kitchen Karnival ! 


Kitchen Karnival is the daily half-hour radio show that offers 
you capacity merchandising in the Baltimore area food stores. 
Here are the important extras that Kitchen Karnival gives you. 

Your product is mass displayed at luncheon broadcasts and 
at church and civic broadcasts in and around Baltimore. 


Your product is offered as a prize at each weekly broadcast. 

Your product is actually sampled by luncheon guests and 
audiences numbering over 500 each week. Surveys show that 
each participating housewife will tell 6 others about her experi- 
ence. Hence, _3,000 per week. 


4 o 

Your product gets special point-of-sale display and active in- 
store promotion From full time 'merchandising' men. 


The Merchandising Department works for the advertiser in the following 
manner • Advertising matter is displayed in preferential places • Obtains tie-in 
ads in newspaper and hand bills • Special merchandising manager plans * 
campaigns and promotions for each sponsor, sets up luncheons, shows and dis- 
plays and personally visits dozens of chain and independent stores weekly * Stores 
not handling advertisers’ product are encouraged to do so, bona fide orders are 
obtained, forwarded to wholesalers • Stores cooperating are given courtesy plugs 
on the air • Competitor survey made available to you • You receive weekly 
report of activities arid progress of the special Kitchen Karnival campaign 

promoting your product. 

/ 

50,000 WATTS WBAL NBC iN MARYLAND 

NATIONALLY REPRESENTED BY EDWARD PETRY & CO. 


<SM 



ios 


ORCHESTItAS-MVSIC 


PfissiEfr 


Jocks. Jukes and Disks 


By MIKE GROSS 


Perry Como: “To Know You"- 
“My Lady Loves To Dance” (Vic- 
tor). Following in the same lively 
groove as “Watermelon Weather” 
and “Maybe,” which he cut with 
Eddie Fisher, Perry Como has 
comeup with a powerful commer- 
cial slice in “To Know You.” Como 
brings a lot of zest to'the bouncy 
beat and his reading of the catchy 
lyric captures the gay spirit. He 
gets a sock assist on the vocal from 
the Fontane Sisters .and’ Mitchell 
Ayres orch supplies a festive back- 
ing. It’s surefire juke fodder. “My 
Lady Loves To Dance,” on the 
flip, is another sprightly tune 
which Como sells in similar style. 
It, too, is headed for plenty of 
spinning time. 

Johnny Desmond: “Nina Never 
Knew”-“Stay Where You Are” 
(Coral). Johnny Desmond works 
over the best material he’s been 
given in some time on this cou- 
pling and it should carry him into 


know it with a big-voiced, quasi- 
emotional styling that clicks. His 
technique shows up best in “Need 
Me,” a pash ballad adapted from 
an Italian hit. Working with a 
lush orch backing supplied by Ray 
Bloch, Saunders hits hard and ef- 
fectively. ’‘Cry My Heart” is of 
the grandiose ballad genre. Al- 
though it’s not so melodic as the 
topside tune, it rates spins. 

Lorry Raine: “I Wish I were 
Somebody Else” - “Fickle and 
False” (Universal). Lorry Baine 
could break through with “Some- 
body Else.” It’s a lilting tune with 
a fair lyric and pegged for current 
market vogue in . it’s multiple- 
voice gimmick. Miss Baine has a 
pleasant piping quality and her 
“echo" is worked in neatly and 
unobtrusively. Should do espe- 
cially well with the jocks. “Fickle 
and False” is in the country-waltz 
genre, and, although it’s given top 
treatment, tune is too reminiscent 


Best Bets 


PERRY COMO 

(Victor) 

JOHNNY DESMOND . 

(Coral) 

ART MOONEY ORCH. 
(M-G-M) 

JIMMY SAUNDERS .. 
( Coral ) 


. . TO KNOW YOU 

.My Lady Loves To Dance 

.. . . NINA NEVER KNEW 
.... Stay Where You Are 

LAZY RIVER 

Honestly 


.. NEED ME 
Cry My Heart 


the hit bracket. Standout slice is 
a touching ballad. “Nina Never 
Knew,” which Desmond delivers 
with effective sentimentality. Tune 
»is topdrawer Tin Pan Alley output 
headed for clicko results on all 
-levels. Added punch is supplied 
by Tony Mottola’s imaginative 
orch backing. Reverse follows the 
same pattern but less effectively. 

Art Mooney Orch; “Lazy River”- 
“Honestly” (M-G-M). Art Mooney, 
who’s been virtually quiet in the 
disk field for some time, has a 
noisemaker in his. slice of “Lazy 
River.” The Hoagy Carmichael 
oldie is given a delightful up- 
tempoed treatment that should 
payoff in solid spins. Potent asset 
on the disk is Cathy Ryan’s top- 
-light warbling. “Honestly,” a so- 
Jbo ballad, gets an okay reading by 
CHff Ayers and a pleasant Mooney 
orch workover. 

Jimmy Saunders: “Need Me”- 
“Cry My Heart” (Coral). Jinpny 
Saunders tees off as a Coral pactee 
with a strong commercial coupling. 
Saunders has what the disk-buyers 
today want and he makes them 


of past country clicks to have 
much impact# 

Vic Damone: *“Nina Never 
Knew”-“Johnny With the Bandy 
Legs” (Mercury!.* The fragile 
baliad, “Nina Never Knew,” is 
given a smooth workover by Vic 
Damone and should race Johnny 
Desmond’s Coral workover for top 
spins. Damone, however, fails to 
give it enough shading or color for 
boff payoff results. Cut of Josef 
Marais’ “Johnny With the Bandy 
Legs” has a better chance. It’s a 
bright, breezy tune culled from the 
African /Veld and Damone hits 
with a bouyant appeal. Joe Reis- 
man’s orch adds a rich flavor. 

Bill Kenny: “Moonlight Mys- 
tery”-“You Are Happiness” (Dec- 
ca). Bill Kenny, top man of the 
Ink Spots, steps out solo f<?r a 
highly stylized workover of “Moon- 
light Mystery.” Kenny pulls out 
his whole bag of vocal tricks here 
but tune remains just average 
platter fare “You Are Happiness,” 
which Kenny co-penned with 
David Allen, borders on the pre- 
tentious. Routine words and mel- 


ody blending limits its chances. 
Kenny renders in his high-pitched, 
groove while Sy Oliver orch lends 
a suitable backing. 

Jilla Webb: “My Baby's Arms”- 
“The Love In Your Eyes” (M-G-M). 
M-G-M has latched on to a hot 
platter property in warbler Jilla 
Webb. On her debut disk, Miss 
Webb displays an effective song- 
selling style that earmarks her as 
a potent entry. She’s a class stylist 
who has a winning way with a ly- 
ric. Although the tunes on the 
preem platter lack the excitement 
necessary for sock impact in to- 
day’s market, Miss Webb’s stand- 
out treatment on each should get 
them jock and juke spins and lift 
the platter into the mid-hit brack- 
et. *“My Baby’s Arms” will have 
an easier time breaking through. 
LeRoy Holmes backs tastefully. 

Jeri Southern: “Forgive and 
Forget”-“The Ruby and the Pearl' 
(Decca). The intimate styling of 
Jeri Southern is given a class 
showcasing in “Forgive and For- 
get.” Miss Southern, who has 
been lingering in the mid-hit class 
with past waxings, impresses again 
that she’s a potent platter entry 
who’s due for a big one. Her 
“Forgive and Forget” slice may 
have* hit the market too late to 
wind up in the big money . It’ll 
get plenty of spins, however. The 
Oriental flavored, “The Ruby and 
the Pearl,” similarly shows her off 
in top form. 

Platter Pointers 

Richard* Hayes has a clicko slice 
in the oldie, “Forgetting You” 
(Mercury) . . . Stan Kenton gets 
across an interesting interpreta- 
tion of “Taboo” on the Capitol 
label . . . The Four Tunes’ slice of 
“Let’s Give Love Another Clfance” 

for Victor should get plenty of ac- 
tion . . . Dick Lee scores again with 
“Cuban Love Song” on the indie 
Essex label . . . Sue Evan impresses 
on “Weep, Weep, Weeping Willow” 
(Cadilac) . . . Russ Morgan has a 
nifty side in “Strolling Down 
Lover’s Lane” (Decca) . . . Ray 
Anthony’s version of “Bunny Hop” 
on Capitol rates spins , . . Edna 
McGriff has a solid workover of 
“My Favorite Song” on the Jubi- 
lee label. 

Standout folk, western, religious, 
blues, rhythm, etc.: Sister Rosetta 
Tharpe, “When I First Saw the 
Lord” (Decca) ... Ben Webster 
Orch, “King’s Riff” (Mercury) *; . . 
Oscar Peterson, “How High the 
Moon” (Mercury) . . . The Mountain 
Singers, “Let the Healing Waters 
Move” (Coral) . . . .Yuffodas Bros., 
“Cum-Si-My” (Kem) . . . Hank 
Penny, “Two Timin’ Mama” (King) 
. . . Bill Davis Trio, “Ooh-Ah-De- 
De-De” (Okeh) . . . George Wal- 
lington Trio, “Love Beat” (Pres- 
tige) . . Beryl Booker Trio, “Love 

Is the Thing” (Mercury) . . . Little 
Esther-Bobby Nunn, “Saturday 
Night Daddy” (Federal). 


10 Best Sellers on Coin-Machines Week of Sept ; 27 


♦ M + ++ 




1. 

2 . 
3. 
'4. 

i 5. 


-■ 6 . HIGH NOON (5) (Feist) 

« ► 7. AUF WIEDERSEH’N (15) (Hill-R) 

- • 

* ► ‘ 

8. SOMEWHERE ALONG THE WAY (7) (United) 


9. 

10 . 


YOU BELONG TO ME (5) (Ridgeway) *. . | Qem^Jrtin '. ’. \ * ’. '.^Capitol ; ; 

I WENT TO YOUR WEDDING (3) (St. Louis) Patti Page Mercury - 

WISH YOU WERE HERE (8) (Chappell) Eddie Fisher Victor 

JAMBALAYA (4) (Acuff-R) Jo Stafford [Columbia " 

\ Les Paul-Mary Ford ... Capitol " 

MEET MR. CALLAGHAN (3) (Leeds) \ Harry Grove Trio . .■ London ,, 

) Mitch Miller Columbia •"* 

\ Frankie Laine Columbia < ► 

* v | Bill Hayes . * MGM 

\ Vera Lynn London 

I Eddy Howard Mercu. y 

\Nat (King) Cole . Capitol 

I Tony Bennett Columbia 

SHOULD I (2) (Robbins) Four Aces Decca 

GLOW WORM (1) (Marks) Mills Bros Decca 


Best British Sheet Sellers 

(Week endihg Sept. 20) 
London, Sept. 23. 

Homing Waltz Reine 

High Noon .Robbins 

Auf Wiederseh’n Maurice 

Blue Tango Mills 

I’m Yours Mellin 

Walkin’ My Baby Victoria 

Day. of Jubilo Connelly 

Somewhere Along Way. Magna 

Rock of Gibraltar Dash 

Meet Mr. Callaghan ..... Toff 
Time Y’u Say G’dbye . Pickwick 
Sugar Bush Chappell 

Second 12 

Here in My Heart Mellin 

Trust in Me Wright 

Kiss of Fire Duchess 

Faith Hit Songs 

When In Love Connelly 

Isle of Innisfree Maurice 

Botch-a-Me Kassner 

Never F.D.&H. 

Delicado Lafleur 

Half as Much Robbins 

Live Till I Die Connelly 

Be Anything Cinephonic 


Adler as Col Counsel 

In a .reshuffle of legalite setup, 
Columbia Records has named Nor- 
man Adler as general counsel for 
the company. 

Ken Raine, who had Adler’s spot, 
will now concentrate as the com- 
pany’s legislative rep in Washing- 
ton as well as handling industrial 
relations. 


Wednesday, October X , 3952 

Eddie Fisher Socko 
In Cuffo Tokyo Stand 
At Ernie Pyle Theai 

Tokyo, Sept. 23 
RCA Victor artist Eddie Fis) 
now an Army private serving 
Japan, smashed all attendance * 
ords at the Ernie Pyle Theatre h 
when he and his unit plaved ttf 
last w<?ck to capacity* hoiK 
Fisher’s “I’m Yours” has been 
leased here by Japan Victor i 
week. Disk has already sold o: 
000 copies in U. S. * ' 

Fisher show, which also pl ai 
cuffo to servicemen in Yokohai 
includes “Three Sharps and a K 
ural,” night club tap dancer p] 
Jimmie Greene, and the Billy D, 
combo from the 10th Special Se 
ices Company in Korea. 

Fisher sang “Anytime.” “Tell! 
Why,” “Makin’ Whoopee,” "] 
Yours” and the current hit “W 
You Were Here.” Fisher is set 
Europe for more appearances 
fore trt>ops in Germany. His 
cording of “Maybe” is set 
release by Japan Victor next moi 


Gomez's Pic Album 

Vicente Gomez, guitarist, i 
wax the background score of 
United Artists pic, “The Fighte 
for a Decca album. 

Gomez also did the backgroi 
music for the film. 


Second Group 


HALF AS MUCH (15) <Acnff-R) 

" BOTCH-A-ME (10) (Hollis) 

VANESSA (4) (E. H. Morris) 

LUNA ROSSA (BVC) 

:: BECAUSE YOU’RE Mf&E (Feist) 

X FOOL, FOOL, FOOL , (Progressive) 

WALKIN’ TO MISSOURI (Hawthorne) . 

X MY LOVE AND DEVOTION (Shapiro-B). 

-t ONCE IN A WHILE (Miller) 

SUGARBUSH (6) (Schirmcr) 


- WALKIN’ MY BABY BACK HOME (15) (DcSylva-B-H) 

* N 

STRING ALONG (Regent) 

X ZING A LITTLE ZONG (Burvan) 

ROSANNE (ABO 

DELICADO (13) (Witmark) 


X HERE IN MY HEART (13) (Mellin) 

EARLY AUTUMN (Cromwell) 

(Figures in parentheses indicate number of weeks song 


Rosemary Clooney . . Columbia 

Rosemary Clooney . . . .Columbia 

Hugo Winterhalter Victor 

Alan Dean MGM 

\ Nat (King) Cole Capitol 

l Mario Lanza Victor 

Kay Starr Capitol 

Sammy Kaye Columbia 

Perry Como ' Victor ” 

Patti Page Mercury 

Frankie Laine- T). Day .Columbia 

\ Johnnie Ray Columbia 

l Nat (King) Cole Capitol 

Ames Bros Coral 

Bing Cr.osby-J . Wyman . Decca 
Vic Damone Mercury 

\ P. Faith Columbia 

I S. Kenton Capitol 

\ Al Martino BBS 

\ Tony Bennett Columbia 

Jo Stafford Columbia 

has been in the Top 101 


+ 1 


Songs With Largest Radio Audience 

The top 30 songs of week (more in case of ties), based on 
copyrighted Audience Coverage Index & Audience Trend Index, 
Published by Office of Research, Inc., Dr. John Gray Peatman, 
Director. Alphabetically listed. 

Survey Week of September 19-25 

Auf Wiederseh’n Sweetheart Hill & R 

Because You're Mine — i “Becalise You’re Mine” Feist 

Blues In .Advance Hollis 

Botch-A-Me Hollis 

Half As Much * Acuff-R 

Here Comes That Mood Life 

High Noon — i “Higli Noon” Feist 

How Close ... Life 

I Went To Your Wedding St. Louis 

I’ll Forget You ., , Witmark 

I’m Yours ........ Algonquin 

Jambalaya Acuff-R 

Live Oak Tree Burvan 

Mademoiselle Morris 

Meet Mr. Callaghan Leeds 

My Love and Devotion Shapiro-B 

No Two People Frank 

Once In A While Miller 

Some Day Famous 

Somebody Loves Me Harms 

Somewhere Along Way United 

Sweetest 'Woi’ds I Know. Life 

Vanessa '. ^ Morris 

Walkin’ My Baby Back Home. ,. . DeSylva-B-H 

When I Fall In Love Young 

Where Did the Night Go Chappell 

Wish You Were Here — *“Wish You Were Here”. . . . Chappell 

You Belong To Me Ridgeway 

You Intrigue Me Remick 

Zing a Little Zong — f“Just For You” Burvan 

Second Group 

A Trumpeter’s Lullaby Mills 

Adios Peer 

Be Anything (But Be Mine) Shapiro-B 

Blow Out The Candle ; DeSylva-B-1 

Blue Tango Mills 

Delicado . . . . , Remick 

Down By the O-hi-o ' Forster 

Early Autumn ' Cromwell 

Glow Worm Marks 

I'll Si Si Ya In Bahia Burvan 

I’m Never Satisfied Simon H 

Luna Rossa Bregman-Y- 

Maybe . • * . . . . Robbins 

Roses Of Yesterday Berlin 

Smoke Rings .* Am Acaden 

Should I? Robbins 

Sugar Bush Schirmer 

Sweethearts Holiday • Mayfair 

Takes Two To Tango Harman 

Till The End Of The World Southern 

Two-Faced Clock Robbins 

Walkin’ To Missouri Hawthorne 

Wedding Bells Will Soon Be Ringin’ ..Laurel 


Top 10 Songs On TY 


Blue Tango Mills 

Botch- A-Me ’. Hollis 

Half As Much Acuff-R 

High Noon— ; “High Noon” Feist . 

I’m Yours Algonquin 

Rosanne .ABC 

Somewhere Along the Way United 

Walkin’ My Baby Back Home DeSylva-B- 

Wish You Were Here— ‘"“Wish You Ware Here” ., ..Chappell 
You Belong to Me Ridgeway 


FIVE TOP- STANDARDS 

Cumana Martin 

For Me and My Gal Mills 

Just One Of Those Things Harms 

Tico Tico Harris 

Toot Toot Tootsie Goodbye Feist 


t Filmusical. * Legit musical. 


Wednesday? October 1? 1952 


PjS&iety 


ORCHK!STRA^flJSI€ 


109 



BIZ 



HEALTHY STATE 


RIAA’s One-Week Hartford Disk Fete 
Clicking With Top Artists’ Backing 


Hartford, Sept. 30. + 

Marking the 75th anniversary of 
2 invention of the phonograph by 
Thomas A. Edison, the Greater 
Hartford Record Festival got un- 
to “ay today (Tues.) witli an edu- 
ittonal seminar at the Bushnell 
Memorial Present were super- 
visors of music of Hartford County 
and school principals. On a 
mnel for the discussion of varied 
Phases of music were Hecky Kras- 
So .Columbia); Ben Deutehman 
(Young Peoples Records); Frank 
She? (Decca), and Warren S. 
Freeman (Record Industry Assn, 
of America). 

The festival, the first of a P r ®“ 
posed 20 nationwide if the Hart- 
ford sendoff is successful, is aim- 
ing to increase the purchase of 
turntables and records. It is being 
run here under the sponsorship of 
the RIAA with the cooperation of 
local records wholesalers and deal- 
ers, with costs being borne by the 
RIAA. 

The roster of the performing 
artists on the four concerts of the 
series reads like a who’s who of the 
record business. It has been de- 
scribed as “the greatest collection 
of famous recording talent in one 
city in a single week.” 

The program for the week reads: 
Tuesday (tonight) — Artists Night — 
Leroy Anderson, Jane Froman, 
Andre Kostelanetz, Whittemore & 
Loew. Backing up the artists will 
be the Hartford Symphony Or- 
chestra. 

Wednesday (Folk Music Night) 
has the Jaworski Polka Band, Pee 
Wee King, Redd Stewart, Neal 
Burris and Carson Robison as tal- 
ent. 

Friday (Popular Music Night) 
(Continued on page 111) 


Decca’s Socko 
250G on Oldies 

In another display of the power 
of old catalog numbers, Decca 
Records is currently hitting a 
socko selling pace on Its recently 
Issued “Curtain Call” series. Is- 
sued both -as singles and in album 
form, the initial release of 16 sides 
has already grossed over $260,000 
[for the diskery, representing 500,- 
000 single-platter sales. 

Demand for the “Curtain Call” 
series covers a package of old 
sides by Bing Crosby, Eddie Can- 
tor, the Andrews Sisters, Jimmy 
Durante with Eddie Jackson,*Mills 
Bros., Ink Spots, Sophie Tucker 
iand Ted Lewis. Most of these were 
[cut out of the Decca catalog many 
[years ago and current sales rep- 
resent an accumulated demand. 

| Series has gone over particularly 
i^ell with disk jockeys, many of 
^vhom have allotted their full pro- 
gram time to airing the 16 sides. 

Middleman, Pitt Maestro, 
Quits Music Biz Again 

u Pittsburgh, Sept. 30. 

Middleman, veteran 
^fttsburgh maestro and piano 
r y f u r * is quitting music again— 
J the second time in less than a 

H rv'cT w time U’s. for keeps, 
nna! * j n S over an appliance store 
P rated by his brother in nearby 

att! 0p ? ls ’ and * s on ly staying on 
n« ni" arousel until be learns the 
® u . ts of tiie business. Last 
)n 1 ! r Middleman quit the key- 
nan? a ? d the Car ousel to join 
5 agenal staff of Dinner Key 
Dwnoi 6 R esta urant in Miami, 
raovtf o b ? his brothers-in-law 
ilsn So anc l BUI Heller, who 
operate the Carousel. 

)etnw K ulls out some time in 
varon/i ! C * be re pl ace d as the 
fi t ,° ader b y ^Ph DeSte- 

.escak \r 1 M I ? et pla y et * and Joe 
»lacemo^ Iultileman,s Previous re- 
in ITmJ 11 the piano > goes back 


M-G-M Preps Soundtrack 
Set on ‘Stars & Stripes’ Pic 

M-G-M Records, which had been 
confining its soundtrack album re- 
leases to Metro product, broadens 
its orbit next month with the re- 
lease of a' soundtrack album of 
the 20th-Fox pic, “Stars and 
Stripes Forever.” 

Album will feature martial mu- 
sic penned by John Philip Sousa, 
whom the pic biographies. The 
20th-Fox Studio Orch is conducted 
by Alfred Newman. 


Col’s All-Out 


For 45 EP’s 


BUT STILL OFF 
F 




BMI Preps Crackdown on Ballrooms 
Playing Its Tunes Without Licenses' 


After a tentative start, Columbia 
Records is going all out in . its adop- 
tion of the new 45 rpm “extended 
play” disks. Diskery has scrapped 
its initial announcement, made last 
week, that the EP’s would be 
limited to pop album sets and has 
now decided to release the new- 
styled platters in both single and 
album form, and for both the pop 
and longhair field. 

Initial release for the EP’s will 
cover 50 platters, comprising most 
of the diskery’s current release in 
the pop album field and some of 
the shorter classical selections. The 
EP’s play up to eight minutes a 
side and will sell competitively 
with Victor disks at $1.40 and 
$1.50 for pops and classical, re- 
spectively. 

Col’s wholesale move into the' 
EP field was dictated by the favor- 
able response accorded Victor’s EP 
line on the retailer and consumer 
level. The longer-playing 45’s have 
been selling fast and have pro- 
vided an a Iditional boost to the 
45 rpm system. Mercury Records 
also is issuing the 45 EP’s as a 
result of Victor’s initial click with 
the new platters. 

PUZZLING SYSTEM OF 
NUMBERING RECORDS 

System of record numbering 
used in early phono days is baf- 
fling to anyone without inside info. 

When Victor first brought out 
10-inch, single-faced platters in 
1901 they were called' Monarch 
Records and numbered beginning 
with 3,000. After several hundred 
had been issued, company decided 
to start over and begin with No. 1. 
Many of 3,000 series were renum- 
bered, and some surviving speci- 
mens have a new low number 
stuck on over the old. New labels 
were adopted and all 3,000 num- 
bers were dropped. When platter 
No. 2,999 was reached fn due nu- 
merical order, a jump was made to 
4,000. So the fact is that records 
numbered in the 3,000s are older 
than those tagged 1, 2, 3, etc., but 
who would suspect it without help? 

Columbia began numbering disks 
from 1 on, but didn’t use any 
4,000 numbers — unless they were 
reserved for some special foreign 
language series. 

And when Edison turned out wax 
cylinders around 1894, the spoken 
announcement at the beginning in- 
cluded the record number. A new 
process of recording began in 3^896 
and the numbering system was 
changed. In the beginning, blocks 
of numbers were reserved for cer- 
tain categories — No. 1 to 500 were 
for band records; 501 to 1,000 for 
orchestras; popular singers had 
their individual blocks, etc. This 
system soon proved awkward, and 
after the numbers had climbed into 
the 7,000s it was abandoned for a 
straight numerical listing. Not 
more than half the “reserved” 
numbers were ever used. 


Although the band biz is in a 
healthier position than it has been 
in years, bandmen, including orch 
leaders and agency staffers agree 
that it’s far off from the boom pe- 
riod of the 1930s. None of them 
expect the biz to reach the peak 
hit during the heyday years of the 
’30s but they point out that this 
year the- bands have been pulling 
better than ever before and the ma- 
jority of ballroom operators and 
orchs will wind up in the black. As 
one band manager put it: “As long 
as the ops and orchs can show a 
profit, the dance band business will 
continue.” 

Such name bands as Ralph 
Flanagan continue to break into 
percentages on their one-nite 
stands around the country. Flana- 
gan, who’s currently touring the 
midwest, is racking up bigger 
grosses than he did at the same 
spots two ./ears ago. In the past 
couple of weeks Flanagan has beat 
his mark in such representative 
midwestern cities as Omaha, Mil- 
waukee, Lincoln and Kansas City. 
Such other travelling bands as 
Buddy Morrow, Billy May, Ray An- 
thony and Tex Benelce are showing 
the same upbeat in their b.o. draw. 
Veteran name leaders as Guy Lom- 
bardo, who launched a longrun en- 
gagement, his 23d,. at the Hotel 
Roosevelt, N.Y., Monday (29); 
Vaughn Monroe, currently on a lo- 
cation stand at the Hotel Waldorf- 
(Continued on page 114) 


Switch Bernie Miller 
To RCA Disk Promotion 

In a reshuffle of RCA Victor’s 
promotion department following A1 
Miller’s appointment as Coast re- 
cording chief, Bernie Miller, 
publicity manager for RCA Vic- 
or products, has been switched to 
the disk division as promotional 
manager. Miller takes over the 
spot vacated by Bob McCluskey, 
who has been named sales man- 
ager for the folk, western and 
blues and rhythm departments un- 
der Steve Sholes. 

A1 Miller, who formerly held Mc- 
Cluskey’s present spot, stepped 
into his new spot on the Coast with 
Henri Rene coming east as as- 
sistant to Dave Kapp, pop artists 
and repertoire chief. Miller’s 
publicity job is being absorbed by 
the rest of the Victor publicity de- 
partment. Both Millers are not re- 
ate d*. 


. il» *.* _ 


M-G-M Forms New 
Lion Label For 
Low-Price Field 

Latching on to the increased de- 
mand for* long play disks, M-G-M 
Records has formed a subsid, Lion 
Records, in which a Low price 33V6 
rpm line will be released. The 
Lion label, which will cover the 
leading pop tunes of the day in 
dance tempo with a minimum of 
vocals, will be peddled for $1.77. 

Artists and repertoire chores for 
Lion will be headed up by Harry 
Meyerson, who holds the same post 
with the parent firm. It’s not been 
decided yet whether Lion will ink 
its own orch pactees and plans for 
future releases now include only 
regular M-G-M artists. Initial Lion 
LP platter, which hits the market 
this week, was cut by the Tommy 
Tucker orch. The platter includes 
eight current, hits. A regular re- 
leasing schedule has not been de- 
cided upon either. 

Dealers handling the Lion line 
will receive the same 5% return 
privilege offered by M-G-M. A2% 
cash discount also will apply to 
their purchase. The Lion disk, 
incidentally, will reverse the color 
pattern of the M-G-M platter by 
using a yellow disk and a 'black 
label. 

The Big Three (Robbins, Feist & 
Miller), which Is the publishing 
wing of the Metro and 20th-Fox pic 
companies, incidentally, launched 
a publishing subsid, Lion Music, 
last year. Firm has been tempo* 
rarily deactivated. 

Resort Hotel Loses T^o 

Mayfair on Royalty 

Mayfair Music, an E. H. Morris 
Music subsid, was awarded $409 in 
N. Y. Federal Court last week in 
a suit against Leo Fleischer, oper- 
ator of a 1 Parksville, N. Y., hotel. 
Suit involved alleged infringement 
by Fleischer on Mayfair’s tune, 
“I’ll Walk Alone,” which was as- 
sertedly played in the' hotel sev- 
eral times without a license. 

Fleischer failed to appear and 
answer the action. The $409 cov- 
ers $250 for unlawful usage of the 
tune, $100 for attorney fees and 
>$59 costs. 

; 


H. M. Spitzer Pub 
Firms Dissolved 


Publishing firms operated by 
Henry M. Spitzer, who committed 
suicide last week, have discontinued 
operation and will be deactivated. 
Move was decided after huddles be- 
tween Spitzer’s widow and attorney 
Lee" V. Eastman. Companies which 
Spitzer had been operating at the 
time of his death were Spitzer 
Songs (BMI) and Henry Spitzer 
Music (ASCAP). The Warock and 
Vogue catalogs, with which Spitzer 
went into business in 1948, had 
been sold a few years ago. 

In an unprecedented move, 
Broadcast Music, Inc., stepped in 
this week with a hefty compensa- 
tion outlay for the firm’s em- 
ployees. Receiving back salaries 
and severance pay will be%lmore 
White, general professional man- 
ager; Murray Wolfe, Coast rep; 
Marie Manoville,/general manager, 
and ,Sid Seidenberg, accountant. 

BMI also donated $1,000 to the 
schooling of Spitzer’s 16-year-old 
son, Michael, who is attending a 
boarding school in Tucson. Publish- 
er E. H. (Buddy) Morris and Manie 
Sacks, RCA veepee, are prepping 
plans for a fund for the boy. 


EDISON’S TELEPHONE 
BOOTH’ RECORDING 

Thomas A. Edison, never satis- 
fied with recording methods, was 
always making experiments. Ob- 
ject of many of his trial-and-error 
methods was his favorite singer, 
Walter Van Brunt, tenor who later 
changed his name to Scanlan when 
he began to sing lead roles in 
Irish musicomedies. Today, Scan- 
lan is a program director at ABC. 

Edison decided singers might db. 
better recording undisturbed by 
sound of orchestral accmpaniment. 
So he built a glass-enclosed “cage” 
that looked something like a tele- 
phone booth, connected a record- 
ing horn and put Van Brunt to 
singing. Legend has it that he 
almost died from high humidity 
and lack of ventilation, while do- 
ing his best to keep in musical 
step with orchestra some distance 
away. Nobody was any happier 
than Van Brunt when the experi- 
ment failed to click. 

Biggest selling Edison record 
was Van Brunt’s rendition of “I’ll 
Take You Home Again, Kathleen” 
— Edison’s favorite song. Nearly 
everybody who acquired an Edison 
Diamond Disk instrument took one 
of the platters when the dealer 
remarked: “Mr. Edison considers 
this the finest record he has ever 
made.” Van Brunt (Scanlan) says 
he made at least 15 master record- 
ings of “Kathleen” through the 
years to' get in improved orches- 
tration or for some other reason 
that occurred to the inventor. * 


Chicago, Sept. 30. 

Suits may engulf the midwest 
ballroom operators who permit the 
playing of Broadcast Music, Inc., 
tunes without benefit of BMI li- 
cense. “Either these operators take 
out BMI licenses or they will stop 
playing our music,” a top BMI of- 
ficial told Variety at the annual 
convention of the National Rail- 
room Operators’ Assn. 

In preparation for this wholesale 
court action, BMI for some time in 
the past has been logging tunes 
played in non-Iicensed spots, both 
by in-person checkers and via tape 
recorders. This checking will be 
stepped up and expanded, and the 
BMI exec said that each case of 
infringement will go to court as 
fast as evidence is obtained. 

.NBOA and the American Society 
of Composers, Authors & Publish- 
ers reached a pre-convention ac- 
cord for a blanket license, at essen- 
tially the same fee asked by BMI, 
which has been seeking such an 
agreement for the past five years. 
Some of the NBOA members, of 
course, are BMI licensees, but 
probably not a majority (NBOA 
refuses to reveal its membership). 
BMI reports the east and west 
coast spots are almost 100% li- 
censed, as are the ballrooms in the 
Chicago area. However, it’s indig- 
enous to the rest of the midwest 
that a great percentage of the ball- 
rooms do not have BMI permits. 

In an attempt to relieve them- 
selves of liability for copyright in- 
fringements, some midwest oper- 
ators rubber-stamp an agreement 
on the band’s contract, making the 
leader responsible for any infringe- 
ments on non-licensed tunes. Other 
ops attach a rider to the leader's 
contract for the date, with the same 
liability clause. Legalites in the 
music field feel this responsibility 
clause would not stand up in cburt, 
although it’s never undergone a 
test. 

However, in accepting a contract 
containing the responsibility clause, 
the bandleader in acting in direct 
(Continued on pa^e 111) 


ASCAP-Baflroom 
Contract Near 


Chicago, Sept. 30. 

Formal ASCAJP-NBOA contract 
signing looks certain for late* today 
(Tues.) when musjc licensing com- 
mittee of National Ballroom Opera- 
tors Assn, and American Society 
of Composers, Authors & Publish- 
ers are scheduled to huddle on 
ASCAP proposals. 

One proposal reportedly is based 
upon percentage of boxoffice re- 
ceipts, the other upon percentage 
of ballroom’s music payroll. Latter 
basis is similar to that offered by 
Broadcast Music, Inc. 

Arriving here today for meeting 
are ASCAP’s sales manager Jules 
Collins and attorney I. T. Cohen. 
NBOA . ,wjJl . be. repped- -by Tom 
Roberts, Tom Archer, Ken Moore 
and Herb Martinka. 


Lombardo Playing Again 
For Yanks at World Series 

Along with the N. Y. Yankees 
baseball club, Guy Lombardo is 
playing at the Yankee Stadium for 
the World Series for the fourth 
consecutive year. Lombardo is 
giving an hour-long, pre-game con- 
cert with his orch. 

As in past years, it’s a cuffo 
stint, with the bandleader paying 
the musicians out of his own pock- 
et. The Yankees, incidentally, 
have not lost a World Series since 
Lombardo began giving his pre- 
game concerts. Series opens today 
(Wed.) at Ebbets Field, Brooklyn, 
against the Brooklyn Dodgers. 


RCA Victor staffers threw a. 
cocktail party for Dave Finn in 
Camden, N. J M last Wednesday (17) 
to make his taking over of the 
I sales manager spot for the Victor 
ICustom Records division. 


110 


ORCMKSTRA$-M(TSIC 


P4&kU8?rr 


Wednesday, October X, 1952 


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onrHES'ritAS-MiTSic 


111 


Oetahcr 1, 1952 



PSniETY 



Scoreboard 

OF 


TOP TALENT AND TUNES 


Compiled from Statistical Reports of Disiribution 
Encompassing the Three Major Outlets 

Coin Machines Retail Disks Retail Sheet Music 

as Published in the Current Issue 

for 

— WEEK ENDING SEPTEMBER 27 — = 

NOTE : The current comparative sales strength of the Artists and Tunes listed hereunder is 
arrived at under a statistical system comprising each of the three major sales outlets enu- 
merated above. These findings are correlated with data from wider sources, which are exclusive 
with Variety. The positions resulting from these findings denote the OVERALL IMPACT de- 
veloped from the ratio of points scored: two ways in the case of talent (disks, coin machines), 
and three ways in the case of tunes (disks, coin machines, sheet music). 


TALENT 

POSITIONS 
This Last 

(reck. week. ARTIST AND LABEL 

1 1 JO STAFFORD (Columbia) 

2 2 PATTI PAGE (Mercury) 

3 3 EDDIE FISHER (Victor) 

4 6 FRANKIE L£TNE (Columbia). 

5 4 ROSEMARY CLOONEY (Columbia) 

6 7 LES PAUL-MARY FORD (Capitol) 

7 5 VERA LYNN (London) 

8 8 NAT (KING) COLE (Capitol) 

9 . . DEAN MARTIN (.Canitol) 

10 . . MILLS BROS. (Decca) 


TUNE 

(You Belong to Me 
jjambalaya o 

I Went to Your Wedding 
(Wish You Were Here 
) Outside of Heaven 
High Noon 

| Half as Much 
•j Botch-A-Me 
| Blues In the Night 

Meet Mr. Callaghan 
Auf Wiederseh’n 
(Somewhere- Along Way 

) Because You’re Mine 

« 

You Be’ong to Me 
Glow Worm 


TUNES 

POSITIONS 
This Last 

week. week. TUNE PUBLISHER 


1 1 YOU BELONG TO ME Ridgeway 

2 2 1 WENT TO YOUR WEDDING St. Louis 

3 3 WISH YOU WERE HERE Chappell 

4 8 JAMBALAYA Acufif-R 

5 4 AUF WIEDERSEH’N SWEETHEART Hill-R 

6 6 MEET MR. CALLAGHAN Leeds 

7 5 HALF AS MUCH Acuff-R 

8 7 HIGH NOON Feist 

9 9 SOMEWHERE ALONG THE WAY United 

10 GLOW WORM . ; . . E. B. Marks 


RETAIL SHEET BEST SELLERS 


PRrTety 


Survey of retail sheet music 
sales, based on reports obtained 
from leading stores ift 12 cities 
and showing comparative sales 
rating for this and last week. 


National 

Rating 

Phis Last 


Week Ending 
Sept. 27 


Title and Publisher 



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“You Belong to Me” (Ridgeway).. 
“Wish You Were Here 0 (Chappell) 


*Auf Wiedcrsch’n” (Hill-R) 3345 12 10 4 


“I Went To You r Wedding” (Hill-R 9 
“Half As Much” (Acuff-R) 4 " 


2 


8 


“Somewhere Along Way” (United) 
“Meet Mr. Callaghan” (Leeds) .... 


6 


8 6 


8 


“Jambalaya” (Acuff-R) 10 5 


6 10 4 


6 


8 


8 


9 10 


“Walkin’ My Baby Home” (D.B.H.) 5*9 O 2 8 


D “High Noon” (Feist) 8 8 


“Blue Tango” (Mills) 6 


10 


10 


■ A. “Because You’re Mine” (Feist). 


“Walkin’ to Missouri” (Hawthorne) 


9 


6 

10 


8 


^ God’s Little Candles” (Hill-R) . . 
‘Botch-A-Me” (Hollis) 


4 

9 


T 

O 

T 

A 

L 

P 

O 

1 

N 

T 

S 


1 117 

5 85 

4 82 

2 72 


64 


8 43 


43 

"41 


26 

16 


13 

i<r 

7 


7 

6 


Wallichs Abroad | Affictq’ Pn|» 

in Wallfrhfi of i g. UU 


Glenn Wallichs, president of 
Capitol Records, flew to Paris over, 
the weekend witfiThis wife for a 
six weeks’ survey of\ iMJ foreign 
situation. 

He is being met by the com- 
pany’s foreign manager and will 
motor from France to the Norse 
countries and England. 


Firms Hit By 
Coverage Nix 


RIAA 


Continued from page 109 


! lists the following: Toni Arden, 

I Eileen Barton, Tony Bavaar, Stan 
j Freeman, Benny Goodman, Bill 
I Hayes, Bill Kenny, Cindy Lord, 

! Mitch Miller, Les Paul & Mary 
1 Ford, Fran Warren and Hugo Win- 
1 terhalter. 

Saturday (Children’s Program) 
will feature Bozo the Clown, Tom 
Glazer, Frank Luther . and the 
Baird Puppets. 

The Bushnell, where the festival 
is being headquartered, seats some 
3,300. Accoustically it is bad, but 
! with a roster such as is contained 
on the four-part program, it’s 
doubtful whether there will be 
many beefs on that score. Organ- 
ization and promotion of the festi- 
val was slow in getting underway 
with the resultant that there was 
virtually no sale of ducats all of 
last week. However a weekend de- 
mand for seats for the first and 
third nights of the series indicated 
a sellout for those affairs. 

To hypo sales for the Folk Music 
Night, the seven Hartford records 
distributors are underwriting half 
the ducat costs of the first 1,000 
tickets sold for that event. In ad- 
dition, the distributors are donat- 
ing as many folk records as there 
are seats, in the house. Which 
means that each payee will receive 
. a record. Admish prices for the 
first three concerts range from 
$1.00 to $3.50. The kiddies show 
’ is tabbed at a quarter. 

As part of the promotion for the 
\ festival, the RIAA has donated to 
the Hartford Public Library its 
choice of any records it desires 
» from the catalog of its members. 
No stipulations were made on the 
amount or type chosen by the li- 
brary. 

Although .no individual credits 
were to be given for participation 
in the show, Columbia pre-released 
> an Andre Kostelanetz album tagged 
“Stardust” and advertised its sale 
in local stores. The nine song 
; album was preemed over WCCC 
today. Ad tie in was made to 
Kostelanetz appearance here. 

Radio Tieup 

An RIAA radio tieup had WTIC 
today airing a world premiere of 
a proposed musical “Tom Sawyer” 
by Frank Luther. This was a good 
. promotion bit as Mark Twain once 
lived here and local claimants say 
he wrote Tom Sawyer while in resi- 
dence. 

Tying' this festival into a pack- 
age was no easy job for the RIAA, 
with plenty of kudos due to the 
various participating officials. Liter- 
ally speaking, stars are coming 
here from various sections of the 
world. Kestelanetz flew here 
from Switzerland. From London, 
Les Paul and Mary Ford cut short 
| a vacation and planed here. .Jane 
I Froman cut short a Florida vaca- 
; tion for her presentation. Benny 
Goodman, cancelled a series of per- 
sonal appearances and the Pee Wee 
King Band is flying in from Louis- 
ville, Ky. 

Lt. Gov. Edward N. Allen is hon- 
orary chairman of the event. An 
odd fact here is that he* is the 
owner of one of the city’s largest 
department stores which has no 
•record department All profits — if 
any — of the festival are to go to 
several Hartford charitable funds. 

Despite a slow getaway, the festi- 
val got plenty of story and pic- 
ture space by the two local papers, 
the Hartford Times and Hartford 
Courant in the few days preceding 
the event. Some 43 record com- 
1 panies are backing the event via 
the RIAA. 

Bulk of groundwork was laid by 
Joe Martin, promotion chief of the 
RIAA; Dr. Warren S. Freeman, ex- 
music dean of Boston Unlv.; and 
Jim Smith, local’ publicist. Aiding 
and abetting were Dick Link 
(Capitol), Iyv Townsend (Col. ad 
director). Art Schwartz (also Col), 
John Trifero (RCA Victor) and 
John Griffin, RIAA exec director. 


Cadillac Pacts Russo 


• Tony Russo, former Sammy 
Kaye orch vocalist, has been pacted 
as a solo singer by Cadillac Rec- 
ords, indie label. 

Russo’s initial sides will hit the 
market this wer’k. 


A 1 though an increasing number of 
disk artists have stepped into the 
publishing field via their own pub- 
bery setups during the past few 
years, firms have had small impact 
on Tin Pan Alley activities. Recent 
withdrawal of the Dinah Shore 
firm. Cosmic Music, from the pop 
field points up precarious position 
most of the artist-owned pubs are 
in. Cosmic deactivated its profes- 
sional pop department to concen- 
trate on adding special material, 
generally songs cut by Miss Shore 
for RCA Victor, to its catalog. 

Move was made because of the 
growing difficulty encountered by 
professional men .1 artist-owned 
firms to place their . tunes with 
rival diskeries. The professional 
men point out that they’ve got two 
strikes against them before they 
walk into a rival record company 
with the pub-artists tune. The art- 
ists and repertoire toppers usually 
ask if the tune was cut by the artist 
for his or her label and if not, 
wasn’t the tune good enough? If 
the artist had cut the tune, thd 
a. & r. men hold back on select- 
ing it, too, because, they claim 
they don’t want to buck the art- 
ist’s recording with another ver- 
sion. Getting a pub-artists tune 
wide diskery coverage has become 
a virtual impossibility and most of 
them have decided to try develop 
it into a winner via their own wax- 
ings only. 

Most of the pub-artists are realiz- 
ing the two-edged sword quality of 
their operation and are limiting 
the selection of material which 
they'll publish to songs suited to 
their styling. 

Among the top diskers who are 
continuing to operate in the pop 
field with their own firms are Per- 
ry Como, Vic Damone, Frankie 
Laine, Andrews Sisters and Sammy 
Kaye. 


Monaco Widow Sues Co. 
For 20G on Royalties 


Virginia Monaco Helvoight, 
widow of songwriter James V. Mo- 
naco, filetl suit for $20,000 in N. Y. 
Federal Court last week against 
Broadway Music, claiming that the 
publishing firm failed to pay her 
royalties on the renewal rights to 
tunes -written by her husband in 
collaboration with Joe McCarthy 
in 1913-14. 


Complaint alleges that Broadway 
paid royalties from 1942 to- 1950, 
after McCarthy insisted on pay- 
ment in return for the renewal 
rights. Plaintiff’s brief says that 
Broadway Music is claiming Mo- 
naco relinquished his rights t q. 
royalties by virtue of certain 
signed agreements. • 


BMI Preps 

- j-- - - Continued from page 109 

violation of the American Federa/* 
tion of Musicians’ ; constitution, 
which prohibits AFM members 
from paying license fees or “assum- 
ing attempting to assume re- 
sponsibilities for royalties, fees, 
damage suits, or other claims aris- 
ing from playing of copyright com- 
positions.’’ 

BMI feels the operators are 
short-sighted in not accepting the 

proposition of of 1% of the first 


$50,000 spent on the music payroll, 
and 1 4 of 1 % of payroll above 1%; 
with a minimum annual payment 

of $40, and ap* maximum of $750. 
It’s pointed out that the Federal 
Copyright Law of 1909 calls for a 
minimum penalty of $250 for each 
infringement, with maximum dam- 
ages not to exceed $5,000. BMI 
cites a St. Louis hotel which was 
tapped $1,500 plus court costs for 
copyright violations, and that sum 
would have paid the spot’s BMI 
license for about five years. 

Also^ BMI is tub-thumping this 
theme sohg at the-convention: the 
average bandleader’s book on a 
one-n'ghter tour is better than 60% 
.^I mns ; c — and “how can my lo- 
1 f'ilon hope for continued boxof- 
r^s ? t.'Abrnd is lore. ? '0 ignore 
|t«.? top h f *s of the d°. ; ?” 


112 


ORCHESTRAS-MrSIC 


Pj&fzmfY 


Wednesday, October 1 , 19^2 


. Inside Orchestras — Music 

As much worry about his physical welfare as the economic setbacks 
figured in vet music man Henry M. Spitzer’s suicide last week. It is 
ironic that, on the financial phase, had he held out he might have been 
succored on two fronts. His ex-associates, Edwin H. (Buddy) Morris, 
and the Dreyfuses (Chappell) both had plans for Spitzer. In fact, had 
Louis Dreyfus, who -heads the Chappell interests in England, not been 

delayed by illness it might have been a different story. He was slated 
to make one of his frequent flying visits to visit his brother Max, who 
heads the American music interests of the international publishers. 
He is still delayed by illness in London. 


“Recording Session,” new stanza on WNEW, N. Y„ is paying off via 
promotion it’s receiving from diskeries. RCA and Columbia are dis- 
tributing streamers to their dealers touting the show, which brings on 
performers and artists-and-repertory execs of the recording firms to 
tell the stories behind hit platters. WNEW promotion -chief Ken Klein 
is working with the wax houses on other point-of-sale promotions. 

Talent-wise, program director Bill Kaland has garnered Perry Como. 
Rosemary Clooney and Louis Armstrong as cuffo guests in the first 
three weeks, along with such a.&r. toppers as Columbia’s Mitch Miller. 


Several music men have been displaying an unusual naivete during 
the past week re the Variety story on the Life Music firm. Yarn listed 
number of songs and number of airtime plugs firm has been able to 
line up, but omitted detailing the means by which this end had been 
achieved figuring that you don’t have to draw pictures for the hep 
music trade. Fact that none of the, air-plugged tunes listed received 
diskery coverage needed no further explanation. 


Johnnie Standley etching of “It’s In The Book,’’ which broke through 
in the south and west several weeks ago via the Magnolia label, has 
been picked up for general distribution by Capitol Records. Cap bought 
the master from orch leader Horace Heidt, who owns the label. Mag- 
nolia had been dormant for the past couple of years. Heidt reactivated 
the diskery several months' ago to cut the Standley platter. Heidt also 
supplied the orch backing on the disk. 


Further pointing up the lengths to which a disk artist will go to get 
disk jockey spins for his platter, is John Arcesi’s current hypo for his 
Capitol Records etching of “Wild Honey.” Last week 300 deejays 
around the country received the platter and a jar of wild honey which, 
according to Arcesi, was found by him during a trek through the 
Colorado Rockies. 


Leeds Music has come up with a new tune, “Vote,” by Stan Myers, 
which it will use as a public service number in the weeks preceding 
the November elections. Tune has already been set on several com- 
mercial shows, and one of the major networks is considering its use 
for the station breaks in place of the straight get-out-and-vote an- 
nouncements. 


Decca is giving a major push to Peggy Lee’s latest side for Decca, 
•’Sans Souci,” her own composition written in collaboration with Dec- 
ca’s Coast recording chief, Sonny Burke. Diskery hopes the tune will 
repeat the click of an earlier cleffing efort by Miss Lee, “Manana.” 



fLAY 

MY LOVE + 

MY LOVE I 

MGM 30668 
K 30668 


CERTAIN 
TIME 
78 RPM 
45 RPM 


■■■ Album Just Ralaasad . 

MUSIC FOR YOUR MIDNIGHT MOOD 
E-l 71 33 Long Ploying Record 


MGM RECORDS 

THE GREATEST NAME . iol !N ENTERTAINMENT 


S E ■. c N T H AVE NEW 'ORK 3 ^ N 


I 


Disk Companies' Best Sellers 


CAPITOL \ 


ARTIST i 


I 1. MEET MR. CALLAGHAN Les Paul-Mary Ford 

TAKE ME IN YOUR ARMS AND HOLD ME 

X 2. COMES A LONG A-LOVE Kay Starr 

THREE LETTERS 

3. I’M NEVER SATISFIED Nat (King) Cole 

BECAUSE YOU’RE MINE 

| 4. SOMEWHERE ALONG THE WAY Nat (King) Cole 

WHAT DOES IT TAKE 

5. I’M HOG-TIED OVER YQTJ . . Tennessee Ernie-Ella Mae Morse 
FALSE HEARTED GIRL V 


:: COLUMBIA 

*’ 1. JAMBALAYA Jo Stafford 

* EARLY AUTUMN 

2. YOU BELONG TO ME Jo Stafford 

PRETTY BOY 

3. PIECE OF PUDDING Frankie Laine-Jo Stafford 

SETTING THE WOODS ON FIRE 

4. HALF AS MUCH Rosemary Clooney 

- POOR-WHIP POOR WILL 

5. HIGH NOON Frankie Laine 

ROCK OF GIBRALTAR 

CORAL 

1. TAKES TWO TO TANGO Pearl Bailey 

LET THERE BE LOVE 

2. MY FAVORITE SONG Ames Bros. 

AL-LEE-O-AL-LEE-AY 

3. YOU’LL NEVER GET AWAY Ames Bros. 

THE HOOKEY SONG 

4. STRING ALONG Mills Bros. 

ABSENCE MAKES THE HEART GROW FONDER 

5. TENNESSEE WARBLER Pine Toppers 

MY LITTLE GIRL 

DECCA 

1. GLOW WORM Mills Bros. 

AFTER ALL 

2. ZING A LITTLE ZONG Bing Crosby-Jane Wyman 

MAIDEN OF GAUDALUPE 

3. BLUE TANGO Leroy Andersen 

BELLE OF THE BALL 

4. HALF AS MUCH Guy Lombardo 

AUF WIEDERSEH’N SWEETHEART 

5. TRYING Ella Fitzgerald 

MY BONNIE LIES OVER THE OCEAN 


J MERCURY 


3. WHY DON’T YOU BELIEVE ME. 
PURPLE SHADES ' 


1.- I WENT TO YOUR WEDDING Patti Page 

YOU BELONG TO ME 

?. MADEMOISELLE Eddy Howard 

I DIDN’T KNOW ANY BETTER 

3. ROSANNE Vic Damone 

LEO LEA 

4. RELEASE ME Patti Page-Rusty Draper 

WEDDING BELLS WILL SOON BE. RINGING 

5. FORGETTING YOU Richard Hayes 

FORGIVE AND FORGET 

l M-G-M 

X 1. LUNA ROSSA :,.... Alan Dean 

I’LL FORGET, YOU 

+ 2. BEYOND THE NEXT HILL Acquavivia 

TILLIES TANGO 


Joni James 


4- 4. EARLY AUTUMN Billy Eckstine 

BECAUSE YOU’RE MINE 

+ 5. SETTIN’ THE WOODS ON FIRE Hank Williams 

YOU WIN AGAIN 

X RCA VICTOR 

- 1.^ LADY OF SPAIN Eddie Fisher 

* OUTSIDE OF HEAVEN 

t 2. WISH YOU WERE HERE Eddie Fisher 

THE HAND OF FATE 

X %' I WENT TO YOUR WEDDING Hank Snow 

THE BOOGIE WOOGIE FLYING CLOUD 


4. 


X 5. 


I’VE GONE AND DONE IT AGAIN. 
TWO TIMING BLUES 


.Johnnie & Jack 


VANESSA 

SOMEWHERE ALONG THE WAY 


...Hugo Winterhalter 




What Became of Kruesi, 
Who Built First Phono? 

Nearly everyone who knows any- 
thing about th$ platter biz has 

heard that one of Edison’s me- 
chanics, John Kruesi, constructed 
the first phono from a rough sketch 
drawn up by inventor. But hardly 
anybody seems to know what hap- 
pened afterwards to Kruesi. 

The Swiss-born machinist re- 
mained with Edison and became 
one of his partners in developing 
the electric light. In 1886, when 
the Edison machine works were re- 
moved to Schenectady, N. Y., 
Kruesi*went there as assistant gen- 
eral manager under Samuel Insull. 
When General Electric was formed 
in 1892, Kruesi became general 
manager. When he died in Febru- 


ary, 1899, he was General Elec- 
tric’s chief mechanical engineer. 

Kruesi came to this country in 
1870. In June, 1872, when Edison 
was making Gold and Stock Ex- 
change telegraph instruments in a 
Newark shop, Kruesi joined him 
and was one of the first Edison 
workmen to be transferred from 
commercial to experimental work. 



Beethoven: Symphony No q 
D Minor. NBC Symphony Orehe? 
tra under Arturo Toscanini, wiiii 
Eileen Farrell, Nan Merriman Jan 
Peerce, Norman Scott, Robert 
Shaw Chorale (RCA Victor, 2 LP? 
$11.14). ’ 

In over 50 years of conducting. 
Arturo Toscanini has never per! 
mitted a recording of Beethoven’? 
Ninth (“Choral”) Symphony (and 
he has made several, with some 
firstrate orchestras) to be released 
A strict perfectionist, he’s been 
held' back by unsatisfactory mat- 
ters (usually only to him) of tone 
balance, shadings, dynamics or a 
dozen lesser problems. Finally the 
maestro has okayed this NBC jSym- 
phony version, and no wonder 
Well worth the long wait, it’s a 
lulu. This album immediately 
takes its place as the definitive re- 
corded version of a gigantic, tre- 
mendously complex work. 

The last and greatest of Beet- 
hoven’s symphonies, composed by 
an inwardly tortured soul long 
deaf, it is a massive musical state- 
ment on the joys and problems of 
human life, with its unusual, 
choral finale a powerful cry for 
human brotherhood. Its deep emo- 
tional content, its sharp dramatic 
impact, are captured admirably in 
this recording. What stands out, 
above all, is the clarity of the read- 
ing, ' never muddled, mushy or 
sentimental, but brisk and incisive. 
Performance throughout has 
steady vigor and drive, while the 
intricate finale, with chorus and 
orchestra interlacing, with solo 
voices and instruments competing, 
is handled with astonishing disci- 
pline for highly expressive results. 

The choral movement, based on 
Schiller’s “Ode to Joy,” is sung in 
German. Of the soloists Jan Peerce 
and Eileen Farrell are standout, 
with Norman Scott and Nan 
Merriman as able assists in a 
harshly difficult score. The Robert 
Shaw Chorale does meritorious 
work with some of the most incon- 
siderate of measures ever written 
by a deaf man for the human 
voice. The maestro, with his vir- 
tuoso NBC symph, wraps it all up 
with consummate genius for a 
notable waxing. 

Fourth side of the LPs presents 
Toscy and the NBC crew in a re- 
cording of Beethoven’s Symphony 
No. 1 in C. The maestro’s version 
doesn’t match the majestic quality 
of his Ninth, being a little precise 
and carefully-studied instead of 
buoyant and fancy free, but it’s 
authoritative and , meritorious nev- 
ertheless. Bron. 


Funes Named Peer V.P. 

Dr. Hugo M. Funes was upped 
to veepee in charge of Latin-Amer- 
ican operations at Peer Interna- 
tional last week. Dr. Funes, who’ll 
headquarter in Buenos Aires, will 
set up branch offices in several 
South American countries. Peer 
already is repped in nine countries 
there. 

Dr. Funes was with Peer for 
seven years. He’s expected to leave 
for his new headquarters during 
the latter part of the week. 


New Indie Label 

A ’new indie record company was 
formed recently by the Independ 
ent Recording-Promotion & Music 
Publishing Co. in Wilmington, 
N. C. Company is headed by John 
Lewis Jones. 

Thrush Mary Stocks is the firsl 
artist tt> join the label. 


It's Music by 

JESSE GREER 

Program Today Yesterday's 

JUST YOU 
JUST ME 

ROBBINS 




America's ^ Fastest 

“’Selling: Records! 


nowaday, October 1, 1952 


PBriett 


113 


1 hm LEROY ANDERSON 

FOR WRITING AND WAXING A GREAT HIT! 







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JACK MILLS, President 


IRVING MILLS, Vice-Pres. 


SIDNEY MILLS, Gen. Prof Mgr 


CHICAGO 
64 E. Jackson 


HOLLYWOOD 
6533 Hollywood Blvd 


LONDON 

24 Gt. Pulteney St 




















114 


ORCHESTRAS-MUSIC 


pmmrt 


I 


Wednesday, October 1 , 1952 


Band Reviews 


WARNFY RUHL OECH (8) 

With Elaine Powell 

Hotel Muehlebach, Kansas City 

Current stand in the Terrace 
Grill of the Muehlebach is the 
fourth in recent years for Warney 
Ruhl, and as in past engagements 
he brings in a very able package 
of music and vocalists. 

Musical output is hotel tenor 
style, with an instrumentation of 
three reeds, trumpet, piano, drums 
and string bass. Accent is on dans- 
able rhythms, crew giving a wide 
variety as it intermixes very new 
pops, standards, waltz numbers, 1 
Latins, medleys and novelties, with ! 
patrons making most of the offer- , 
ings and keeping the floor busy 
throughout the evening. ! 

Lively pace is further supported j 
by a wealth of vocal talent which 
Ruhl has' among the crew and in ■ 
featured singer, Elaine Powell. ! 

“Blonde songstress is new to the j 
game, but has an individual style ! 
which she projects nicely. In the ■' 
way of male vocals Ruhl calls on 
Chuck Johnson, drummer, for 
baritone ballads; Ed Lucas, bass- 
man, for livelier tunes; Bob ECK 
wards, reed section, for rhythm 
work; and Jack Williams, reed, for 
tenor pops. Johnson and Williams 
combine with Elaine Powell in the 

. “Ruhltones” trio, a capable combo. 

During three-week stand here 
orch is doing a twice-nightly floor 
show, showing its singers and in- 
strumentalists to best advahtage. 
Show is the occasion for several 
novelty numbers, a Dixieland 
opener, a novelty pantomime done 
by the entire crew and a parody 
on “Trees,” also by the entire out- 
fit. Midway in the show Miss 
Powell does “Almost Like Being in 
Love” for strong hand and en- 
cores with “Mean To Me.” Chuck 
Johnson has a solo entfy on “Old 
Man River,” and at the keyboard 
Vina Ruhl has her inning for a 
catchy “Cumina.” Session ends 
with orch members demonstrating 
the .raspa and drawing the custom- 
ers on floor to sample the dance 
and stay for regular terp session. 
Twenty-minute show is well paced 
throughout. Quin. 


TEX BENEKE ORCH (16) 

With Bill Raymond and Joan Kav- 

anaurh 

St. Francis Hotel, San Francisco 

^(Ehis crew is a carefully gathered 
tribe _pjL.music makers who are hep 
exponents ' of smooth music. Wide 
range of tonal effects, clever mix- 
ing of tunes and a fair share of 
novelty items are neatly directed 
to meet the demands of ‘all age 
sets, with most of emphasis on the 
lively stuff to keep the younger 
element , happy. Decidedly main- 
taining the Qlenn Miller slant 
there is no doubt but that Beneke 
succeeds in great measure in car- 
rying on that tradition. 

Hitting this room, new for him, 
his troupe played on the loud side 
as a starter but it was evident that 
toning down to allow for the acou- 
stics was in the offing. Over-em- 
phasis of the brass, can create a 
considerable din. 

Beneke’s four trumpets, four 
trombones, five saxes, bass, drums 
and piano are a well integrated 
unit. It’s good dance music and 
good listening to for the sitt&rs- 
outer. The vocalists meet • all 
trains with Joan Kavanaugh a 
good looker into the bargain. 
Definitely a tops outfit. • Ted. 


I 


• » * • • 


RETAIL DISK BEST SELLERS 





Band Biz 


National 

Rating 

This Last 
wk. wk. 


4 ‘ 3 


5A 8 


5B 4 


8 9 


9 10 


10 12 


11 11 


12 15 


13 17 


14 14 


17A 17 


17B .. 


PK&IETy 

Survey 0 / retail disk best 
sellers, based on reports ob • 8 

tained from leading stores in o 

12 cities c d showing coin* m 

parative sales rating fot this j to 

and last week. I 

* % 

Week Ending 7 

Sept. 27 I 

g 

Artist, Label, Title £_ 

PATTI PAGE (Mercury) 

“I Went to Your Wedding” 2 

JO STAFFORD (Columbia) 

“You Belong to Me” . 1 

JO STAFFORD (Columbia) 
“Jambalaya” 4 

EDDIE FISHER (Victor) 

“Wish You Were Here” 3 

LES PAUL (Capitol) 

“Meet Mr. Callaghan” 5 

VERA LYNN (London) 

“Auf Wiedcrseh’n” c . . 

FRANKIE LAINE (Columbia) 

“High Noon” 7 

ROSEMARY CLOONEY (Col) . 

“Half As Much” 10 

DEAN MARTIN (Capitol) 

“You Belong to Me” 

NAT COLE (Capitol) 

“Somewhere Along Way” 8 

SLIM WHITMAN (Imperial) 

“Indian Love Call” 9 

HARRY GROVE (London) 

“Meet Mr. Callaghan” 

PEARL BAILJEY (Coral) 

“Takes Two to Tango” 6 

HILL TOPPERS (Dot) 

“Trying” 

SAMMY KAYE (Columbia) 

“Walkin’ to Missouri” 

MILLS BROS. (Decca) 

“Glow Worm” ' 

EDDIE FISHER (Victor) 

“Outside of Heaven” 

ROSEMARY CLOONEY (Col) 

“Blups in tho^ Night” 

SUNNY GALE (Victor) 

“I Laughed At Love” 

D. Cornell-T. Brewer (Coral) 

“YouTl Never Get Away” 


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6 5 


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4968977 38 


7 5 8 8 5 37 


3 9 21 


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3 9 


FIVE TOP 


1 | 2 

WISH YOU WERE .THE MERRY WIDOW 


ALBUMS 


HERE 

• Bway Cast 
Victor 
LOC-1007 
OC-1007 


Hollywood Cast 
M-G-M 
M-G-M-157 
K-157 
E-157 


3 

LIBERACE 

Columbia 

CL-6217 

B-308 

C-308 


On the Upbeat 


New York 1 

Don Cornell, Coral Records 
pactee into the Golden * Hotel, 
Reno, for a two-week stand be- 
ginning Oct. £2. He follows with a 1 
two-week booking at the El Ran- 
cho, Las Vegas . . . Alan Dean 
into the Prince George Hotel, To- 
ronto, Oct. 10 . ; . Harry Belafonte 
opens at the ThunderbiTd, Las 
Vegas Thursday (2) . , . Ray 
Charles • Trio currently at thd: 
Bermuda Room, New York cafe 
M-G-M Records sent a model* 
garbed in Lana Turner’s costumj* 
from the Metro fil musical, “TJfwK 
Merry Widow,” on a round of the 
New York disk, jockeys with it$: 
soundtrack album of the pic. 


Pittsburgh 


Latest in the polka band around 
here is the Levitske outfit; It’s 
headed by Andy Levitske, on ac- 
cordion, and his brother, John, on 
drums.. -Baron Elliott’s orch al- 
ready set for annual New Year’s 
eve party at the Pittsburgh Field 
Club . . . Carmen Cavallajro, booked 
for week of Oct. 6 at Bill Green’s, 


has cancelled out . . A1 Marsico us- 
ing Mary Lou Hough on piano in 
his reorganized nitery band... Art 
Farrar opens week’s engagement 
Monday (6) at Vogue Terrace . . . 
Piccolo Pete orch had option 
picked up again at VTW Club in 
East Liberty . . . ditto Larry Faith 
at new Horizon Room of Greater 
Pittsburgh Airport. 

Chicago 

Ernie Rudy headlines Grant 
Theatre, Evansville, Ind., show for 
five days Oct. 8 and works His way 
up to Chicago and Melody Mill 
for two weeks starting Oct. 22 . . . 
Pappy’s, Dallas, is dropping talent 
for bands and has set Buddy Mor- 
row Oct. 31 for two frames to be 
followed by Ernie Rudy for two 
more . . . Jimmy Palmer is play- 
ing the college circuit and has been 
inked for Perdue, Oct. 10, Illinois 
State Normal, Oct. 18 and Notre 
Dame, Oet. 24 . . . Herbie Fields 
has a three-weeker at the Flame, 
St. Paul beginning Oct 10. 

Tony Pastor jumps into Melody 
Mill Oct. 15 with a telecast out of 
the ballroom and stays for 14 days 


5 6 


4 5 

BIG BAND BASH NEW FACES OF 

Billy May WS2 

., . Bway Cast 

Capitol Victor 

KCF-329 OC-1008 

DCN-329 * WOC-1008 

L-329 LOC-1008 


and then goes into the Peabody, 
Memphis . . . Weavers have been 
pacted for Angelo’s, Omaha, Oct. 
24 for a stanza . . . Louis Jordan 
set for Riviera, St. Louis, Nov. 18 
for a week . . . Hal McIntyre will 
be featured at the Home Show, 
Sioux Falls, S. D., Nov. 25 through 
30 . . . Jan Garber grabbed the 
Horse Show at Baton Rouge, La., 
Nov. 6-9 and then moves up into 
the Claridge, Memphis, Nov, 10 for 
two weeks . . . Bill Snyder signed 
Jack Beckman as personal mana- 
gey. 

Dallas 

Peter Lind Hayes and Mary 
Hcaly inked for two weeks in 
Baker Hotel’s Mural Room, start- 
ing Oct. 23 . . . MeFTorme does a 
fortnight at Abe’s Colony Club in 
January . . . A1 Donahue orch set 
today (Wed.) at Dallas Athletic 
Club, and Frankie Carle orch Oct. 
10 at Baker Hotel, for Oklahoma 
U. Club, preceding annual Texas 
U.-Oklahoma U. football game 
here . . . Pappy’s Showland has 
Ray Anthony orch fof a night's 
stand Oct. 3, and two weeks each 
for Sandy Sandifcr orch, Oct. 4* 
Hal McIntyre orch, Oct. 17; Ernie 
Rudy orch, Nov. 14 and Johnny 
Long’s crew on Nov. 28, ’ 


Continued from page 109 !{ 

Astoria, N.Y., and Sammy KayTlZ 
continue to attract the crowds 
A few ballroom ops, however 
contend that the big orchs have lost 
their drawing power and have 
switched to booking local crews or 
semi-name bands with a tup dick 
artist as the marquee hypo. The 
j Hollywood Palladium and Frank 
! Dailey’s Meadowbrook. Cedar 
j Ciove, N. J., have been doempha- 
| sizing name bands and are counting 
| on the disk artists to pull them out 
of the red. Several agency men 
maintain that these ^spots have 
switched to solo wax stars because 
they won’t pay the name orchs 
price. Meadowbrook, for example, 
is offering most of the name load- 
ers $2,500 guarantee against 27* 
of the gross. A lot of orchs have 
turned down dates there figuring 
it’s more profitable to stick to the 
road where the price is generally 
$1,500 vs. 60 ^ of the gross on one- 
nite stands. 

On the otlier hand, ops like Bill 
Levine of the Rustic Cabin, Engle- 
wood Cliffs, N. J., is moving deeper 
into a name band admitting that the 
big bands have built a steady clien- 
tele for his spot. Majority of ops 
around the country are following 
Levine’s booking pattern especially 
in weekend dates. According to the 
agencies, the biggest problem is 
trying to convince the ops to spread 
out their dance dates throughout 
the week so that they can avoid a 
booking scramble. Ops, however, 
feel that the dance biz is strictly a 
weekend biz and for the most part 
refuse to gamble a guarantee on a 
midweek date. 

Another problem confronting 
agencies is the brushoff given their 
new orch properties by the ball- 
room ops. “The only way the band 
biz can continue growing,” one 
agency man said, “is to develop 
young orchs, but the ops just want 
names and they won’t play ball 
with us.” Several ops, however, 
complain that the agencies have 
been forcing them to play ball via 
the block booking practice which 
gives them a name orch only if 
they also pact a young band for an- 
other date. The tyro orchs come 
cheap and generally have been 
driving their dates into the black. 
Nevertheless, they are still the big 
bone of contention between opera- 
tors and agencies. 

Big difficulty in getting the band 
biz back to the level of the ’30s is 
lack of personality leaders and 
players. When Goodman. Miller, 
Shaw and the Dorseys were the b.o. 
draws, the teenagers and terpsters 
were violently partisan. Excite- 
ment generated by these orchs via 
fan clubs, “battle of the banfls,” 
etc., paid off in big receipts. To- 
day the fan clubs virtually have 
become the personal property of 
disk singers *and the band-battle 
has switched to the “battle of the 
baritones.” Trade, .however, is 
counting on such new band names 
as Sauter-Finegan, Art Lowry and 
the year-old Billy May crew to re- 
vive the interest. 




The Traditional Song for HALLOWEEN and THANKSGIVING 

PUNKY PUNKIN 


ROY ROGERS 

Victor 


FRAN ALLISON 

Victor 


Recorded by 

ROSEMARY CLOONEY 

Columbia 


RAY CHARLES QUINTET 
MGM 


All Malarial Available 


E O R G E PAXTON, Inc. 


TERESA BREWER 

London 


1819 Broadway, Naw York 






w^needay, October 1, 1952 


Pfi&iEff 


VAUDEVILLE 


US 


AGf A Members Petition Union to Kill 
Ran on Deejay Cnffos; Biz Needs Hypo 


Members of th4 American Guild f 
( Variety Artists are originating 1 
Petitions asking the union to re- 
Ee the ban on cuffo appearances* 
Sn cafe-emanated disk-jockey shows. 
Movement has been started to re- 
mind the ruling which went into 
Effect earlier this year as a means 
of permitting performers to pub- 
licize themselves. 

It’s planned to ask the national 
hoard to act on the petitions at its 
Sard meeting starting next Wed- 
nesday (8) in New York. 

The disk-jockey rule has been 
one of the most controversial in 
the history of the union. There 
nave been few rulings by the union 
which caused as much excitement. 
With enactment of the ruling, dee- 
jay had to pay clubdate minimums 
in order to interview a performer, 
even if he didn’t do his act. Thus, 
a singer had to be paid even if he 
didn’t sing, or a comedian, even if 
he stuck to politics or similar sub- 
jects, had to present a bill, 
if the show emanated in a cafe. 

Results of this petition will be 
watched carefully in all segments 
of the trade. Should the ‘board act 
on this repealer, then it’s antici- 
pated that another movement will 
start asking the rescinding of legis- 
lation banning guest nights in cafes, 
unless performers are given full 
salary. 

Feeling behind the disk-jockey 
repeal movement is that the jeafe 
biz is at an ebb point at this time. 
Everything possible must be done 
to “glamorize” the industry and 
get people to go out so that act 
employment could rise. It’s prob- 
able that the same line of thought 
will be applied to repeal of the 
guest-night ban. 


‘Holiday’ leer Neat 55G 
As K. C. And. Teeoffsr 

Kansas City, Sept. 30. 

Opening road attraction of the 
local season was “Holiday on Ice” 
playing a six-day stand in the 
Municipal- Auditorium closing yes- 
terday (Mon,). Third time for the 
show in here and likely to be the 
only K.C. icer of the year, it gar- 
nered a good $55,000 in seven per- 
formances with house scaled to $3. 

Show got off to a good start 
Wednesday night (24) with Ararat 
Shrine as sponsor, and drew good 
press notices. Sturdy pace con- 
tinued throughout the six days. 

MplsJewShake 
A Hawaiian Kick 


Ice Follies’ Fat 384G, L.A. 

Hollywood, Sept. 30J 

The Shipstads & Johnson “Ice 
Follies” closed a 28-day stand at 
the Pan Pacific Auditorium, Los 
Angeles, with a socko $384,000. 

Gross was somewhat under last 
year’s figure because of rescaling 
of house. However, total take rep- 
resents an increased attendance. 


» M&L's Syracuse 1st 

Syracuse, Sept. 30. 

Dean Martin & Jerry Lewis will 
make their local debut Oct. 31 at 
the Syracuse War Memorial. 

The duo’s show will include 
songstress Kitty Kallen and Dick 
Stabile's orch. 


Minneapolis, Sept. 30. 

Curly’s, one of the few remaining 
niteries here and one of town’s 
largest, is being sold to local busi- 
ness man, Tom Hastings. He plans 
to convert it into an Hawaiian-style 
restaurant, eliminating the present 
type of entertainment. 

Cafe’s present owner acquired it 
a few months ago when it ran afoul 
of the law for selling liquor after 
hours. 

One of the city’s two leading 
supper clubs, the Hotel Nicollet 
Minnesota Terrace, is being turned 
into a convention ballroom but, 
while abandoning floor entertain- 
ment as a steady and regular diet, 
will bring in five or six name per- 
formers from time to time if and 
when they’re available. 

The extent to which the Hawaiian 
bug has bitten here is reflected in 
fact that the’ Curly plans follow 
those announced by the Hotel 
Nicollet regarding the launching of 
a Don the Beachcomber replica to 
replace the Terrace. 


AGVA Offers Deal To 
Take Noel Sherman 
Off Its Unfair List 

Noel Sherman, producer of 
“Water Follies,” which met with 
financial difficulties on its recent 
South American tour, has been of- 
fered a deal by the American Guild 
of Variety Artists whereby he 
would be taken off the union’s un- 
fair list. At a meeting of the N. Y. 
Branch board, a deal was arrived 
at whereby Sherman would be 
permitted to work with AGVA 
performers if he reimbursed the 
union’s welfare fund to the extent 
of $3,362, sum which was laid out 
by AGVA in order to get perform- 
ers back from South America. In 
addition, Sherman would have to 
assume liability for all future claims 
resulting from the South American 
trip. 

Union held that although “Water 
Follies” operated under a corporate 
setup which would legally absolve 
Sherman as an individual, from any 
financial claims, Sherman was 
morally responsible. When “Water 
Follies” tour folded, the U. S. Dept, 
of State brought back the per- 
formers and AGVA reimbursed the 
Government from its welfare dept. 


Miami’s Pre-Season Dope Sheet: 
Pessimism, Optimism, Yes-No Names 


Newark Negro Vauder’s 
Fast Fold; Bond Payoff 

The Negro vaude venture at the 
Newark Opera House, Newark, was 
shuttered Friday (26) following 
failure to pay off the cast. Ameri- 
can Guild of Variety Artists started 
shelling out salaries from a bond 
that had been posted with the 
union. House operated for one 
week. 

Manhattan Paul was producer of 
the show. He went in with back- 
ing from several sources. 


Chi Theatre’s H.O.’s 

Chicago, Sept. 30. 

In an unusual action, Nate Platt, 
Chicago Theatre booker, has re- 
tained two acts over from the pre- 
vious show. Bill Snyder, composer 
and pianist, stays on, as does the 
Manhattan Rockets 16-girl line. 

Peter Lind Hayes & Mary Healy 
headline the Oct. 3 show, A1 Mar- 
tino and Jan Murray share honors 
on the Oct. 17 bill, with Frankie 
Laine and Nat (King) Cole set to 
follow. 


Bailey’s 100G Suit 
Vs. N. J. Riviera 


Singer Pearl Bailey last week i 
filed a $100,000 suit against Bill 
Miller’s Riviera, Ft. Lee, N. J., 
charging that the cafe failed to 
provide her with adequate protec- 
tion, which, she claims, led to her 
being beaten by an unknown as- 
sailant. 

Miss Bailey contends that the 
nitery failed to police the spot 
properly. She states that she was 
followed backstage by an unknown 
person, knocked to the floor and 
then beaten and kicked. She was 
forced to cancel two engagements 
because of the assault, she declares 
in her N. Y. Federal Court action. 

Incident occurred at the Riviera 
on Sept. 15, when she and a femme 
friend visited the -cafe. In the lobby, 
one of a party of 14 assailed her 
after making an anti-Negro remark. 
She was escorted backstage by a 
busboy and after her escort left, 
•one of the party followed her and 
beat her. A waiter captain, Jack 
Bruno, who attempted to chase the 
attacker, was also roughed up. 


By Is/ RY SOLLOWAY ' 
Miami, Sept. 30. 

Winter seasons picture for this 
pastel playground — now extended 
via new motel and hotel building 
all the way to Hollywood (Fla., 
that is) — finds the cafe situation a 
mixture of muddlement, pessimism 
and optimism, with only hotel row 
seemingly set on policy. The 
straight niteries amonr; the bigger 
spots are the most confused, due to 
legal and lease entanglements, an 
upsurge of late-hour intimeries, 
and general apprehension on part 
of most operators with resultant 
scaling down in the middle-budget 
groups. 

That there’ll be no gambling of 
any kind except sneak is 'an ac- 
cepted fact; thus, bidding at top 
fees for toppers will be confined to 
just a few. 

Copa on the Hook 

Biggest club in the area, Copa 
City, is currently in litigation, with 
lock on door, pending applications 
for receivership upcoming in local 
courts. This may mean split of the 
Murray Weinger and Ned Schuyler 
combo which has run the spot for 
two seasons. Schuyler ailing, has % 
taken himself out of active nitery' 
operation. Weinger, currently in 
New York, is reported going ahead 
on tentative bookings and looks to 
be inheritor of the 750-seater’s 
reins with “new money” coming in 
to take up the “claims” angle. 

No matter what the legal windup, 
Copa City will be going this sea- 
son, though no one at this time 
can name the date of opening. 
Which- brings up' status of the 
Schuyler Freres'jjBeachcomber, the 
former big rival for name bookings. 
Ed Fielding, who ran the ' bistro 
last year under a lease agreement 
which prevented him from utilizing 
any name acts in ’competish with 
Copa, has not as yet renewed his 
sublease from the Schuyler inter- 
ests. If he does not, there is possi- 
bility that the original operators 
(Schuyler & Co.) will take it back 

(Continued on page 116) 




She's New 


She's Different 


She's Refreshing 


ii 


THE GAL HAS EVERYTHING - LOOKS, SHAPE, VOICE AND CLASS!” 

-NICK KENNY, N. Y. Daily Minor 


JOY LANE 


THE GIRL WITH A CONSCIENCE” 

Currently: 

LAST FRONTIER— LAS VEGAS 



“A SHOWSTOPPER HERE !” 

— Variety 


116 


V A I THE VOX® 


P^miETY 


Miami Fre-Season Dope 


Continued from page 115 


and again compete with Copa City, 
leading to top bidding for names. 

All of which leads to the Clover 
Club and owner Jack Goldman’s 
tour around the country seeking 
the best — with an open checkbook 
— for his mainland spot. He has 
already pacted Johnnie Ray, Spike 
Jones & Co., Billy ' Gray, . Patti 
Moore & Ben Lessy, Jackie Miles, 
and is dickering with Rose Marie, 
Sophie Tucker, Tony Martin and 
others in the high brackets. One of 
his prize bookings may be return 
of Lena Horne for a seasonal date. 
That he’s on first base and going, is 
obvious in the present situation. 

La Rue’s, last season’s click, has 
set Los Chavales de Espana for 
winter run combining dance-show 
policy. Last year it was straight 
dine-dancfe. Ciro’s looks to be under 
Maurice Poliak’s direction again. 
Show idea is not set, though one 
star plus big orch have been talked 
about. 

Felix Young is building a new 
swank supper club and will utilize 
two orchs. Lou Walters reopens 


NORM DYGON 

and 

“MR. CHIPS’' 5 ' 

"a chip off tho old block" 



America's Newest 
Novelty Act 

CLEVER • COMPLETELY 
DIFFERENT • PIANO 
PUPPET ARTISTRY 

Exclusive Management 

MUTUAL ENTERTAINMENT 
AGENCY, INC. 

203 N. Wabaih, Chicago 
RA 4-6990 


JAY MARSHALL 



Currently . 

Palace, M«Y ■ 

PRESTIGE 

.DATE 

* 

Mght 

MARK LEDDY 
LEON NEWMAN 


the Latin Quarter in December and 
will adhere to last year’s money- 
making Continental revue idea with 
new personnel in ranks. 

Same Old Stand 

The Vagabonds are due to return 
to their club in December with 
their former policy of booking 
newer faces and comedians for 
their class spot. Martha Raye at her 
Five O’clock Club (in November tj 
will also stick to policy of solid 
• ovelty acts and young upcoming 
comics. Set to come back with her 
are the Kirby Stone quintet and 
always standard Ben Yost Singers. 
Both Miss Raye and the Vagabonds 
are consistent money-makers, based 
on their draw, with the frenetic 
comedienne probably the most con- 
sistent in-the-black-act working this 
area. 

Along the smaller cafes, Mother 
Kelly’s is skedded to reopen with 
Pat Morrisey, who was discovered 
in the spot, plus other new-face acts 
as well as instrumental .groups. 
Kelly’s is reported for sale, but it 
is a good bet the present owners 
will be back in operation. 

Bill Jordan at hifc Bar of Music, as 
per annually, will team with David 
Elliott as the feature at the Bald- 
win’s, plus a variety group that 
doesn’t cost too much but is'clicko 
with the smarter crowd who flock 
here. 

El Mambo (formef Kitty Davis, 
Old Roumanian, et al.) was a click 
last summer with' a pop price policy 
and will return same with local 
fave maestro Freddie Calo and his 
own Latin revue. 

Alan Gale, who almost had his 
club sold to thrush Gracie Barrie? 
has decided to return with the show 
he is currently presenting in Man- 
hattan, beginning in January. 
Though not presenting a splash 
production, his tariffs are on same 
level as the larger .rooms with the 
name shows. 

Cushibn. for Hotels 

In best shape is the hotel group 
which features plush rooms accom- 
modating from 250 up and featur- 
ing one or two acts and a top orch. 
All can afford losses, through ab- 
sorption in regular hotel operation, 
marked off to "publicity.” Most 
are worked in tight enough man- 
ner to reach a break-even point or 
short loss through season. They in- 
clude Sans Souci, Nautilus, Casa- 
blanca and for this season, the 
Saxony. 

The Saxony, which has enlarged 
dining room into a supper club 
layout allowing for some 350-400, 
may go all-out for acts such as 
play New York’s better hotel cafes, 
with a Hildegarde, Edith Piaf, Mor- 
ton Dcfwney in mind; across the 
lobby the Shell-I-Mar, a 250-seater, 
will be devoted exclusively to 
Latinaddicts. It will be a one-show 
policy, plus those sumptuous room 
accommodations in the deal. 

Best of the hotel line, including 
the new. ones such as the Algiers, 
will follbw the policy established 
years ago by, the LOrd Tarleton, of 
booking club dates with acts after 
they’ve completed runs in straight 
niteries. Possibility' that some of 
the group (Monte "Carlo, SheE/y 
Frontenac, Algiers) may go in for 
full weeks if competition 0 is too 
tough. 

More Sc More Smallies 

There’ll be an upsurge of intim- 
eries built as adjuncts to restau- 


rants and some hotels which are al- 
lowed all-night liquor licenses. 
There’s the Brook Club Lounge 
with Charlie Farrell moving over 
from the defunct Park Avenue Club 
(now strictly a restaurant) after 
eight years. Along with 79th St. 
causeway (not connected with city 
authority) there is the Bonfire, 
Chary’s, Cork Club, Harbor Club 
and other spots building, all using 
! instrumental and solo . acts in the 
$150 to $500 range, depending on 
draw power. 

In the hotel club-date and the 
aforementioned nitery bracket, it 
means plenty of work for the 
smaller acts which, if they click, 
may wind up in the larger spots 
once they’ve established them- 
selves. Most of the booking agen- 
cies around the area complain that 
they cannot get enough talent in 
this bracket to fill their orders. 

For the rest, the recent crack- 
down by the law on stripperies 
hasn’t held up their operations; the 
strippers are more careful on 
amount of adornments taken off. 
Expected that with season time, all 
will be forgotten until the lull come 
spring. As for the "femmic” ideas, 
they’ll be carefully policed, with 
all the types going in for male at- 
tire to keep within bounds. 

It adds up to more places operat- 
ing than ever, but on this trip, with 
more work for the middle-salary 
acts and the newer talents with 
enough potency to attract atten- 
tion. 



Miami La Vie? 

A Miami Beach edition of La Vie 
en Rose, N. Y., is in the works, ac- 
cording to Monte Proser, room’s 
operator. It’s known that Julius 
Gaines, operator of the Casablanca 
Hotel, Miami Beach, was in New 
York last week negotiating with 
Proser to take over the Club 
Morocco in that hotel on a per- 
centage basis. In addition, Proser 
stated he’s been offered several 
other rooms. 

However, Proser is still studying 
all propositions. He’d rather take 
over a nitery operation than a 
hotel room because earlier curfew 
in hotel spots cuts down the gross 
tremendously. 


House Reviews 

Continued from page 25 


Apollo, IV. Y. 

gins takes no chances. He plants a 
few in the house that help him off 
off to better returns. 

The Earles (2), good hand-to- 
r handers, show fine tricks and hit 
some comedy falls for good effect. 
Betty Carter Is under New Acts. 

The band .is a family affair 
headed by Duke Hampton, Whose 
name suggests a union of two top 
names in. Negro jazz circles. Crew 
comprises eight brothers and sis- 
ters, a brother-in-law and the rest 
are good friends. It’s an interest- 
ing combo. The gals combine in 
dances, another sings blues and 
their formations suggest good 
preparation. 

While not a musically ingenious 
group, with some unprofessional 
touches, they do present a refresh- 
ing facade. Their lack, of musical 
sophistication and. rough .stage de- 
meanor aren’t serious faults at 
this stage. They are capable in- 
strumentalists, have good arrange- 
ments and should get by in most 
situations. Jose. 


, Sally Hand Show 

(MID-SOUTH FAIR, MEMPHIS) 

Memphis, Sept. 24. 

Sally Rand, Roland Drayer , Jim - 
rriy August , Fred Werner, Sally 
Rand Girls (11), Henry Rodidger; 
Sally Rand, producer-director; $1 
weekdays, $1.50 Sat. -Sun. 

Sally Rand is still boff at the 
b.o. She’s demonstrating this 
aplenty during her stint at the 
annual Mid-South Fair, Sept. 18- 
27. The fan dancing topper is pull- 
ing terrif crowds and racked up 
a rousing record gross of $14,000 
for the opening weekend. 

And the payoff is that the show 
is tame enough for grandma and 
the old folks to take a gander at. 
The show savvy gal has surrounded 
herself with a line of 11 girls who 
are easy on the eyes and handle 
themselves in topflight fashion. 

The layout is loaded with nifty 
numbers which have all been 
created and directed by Miss Rand. 
The costumes and scenery are far 
above the cariife or tent category. 
Production could easily hold better 
than its own in a name house and 
fare better than par over the ap- 
plause and b.o. courses. 

Neat opening finds a girl trio 
pouring out clever patter telling 
the customers that "people no. 
longer are screaming for strip 
numbers but talent is what the 
public is after.” And talent is 
liberally sprinkled throughout the 
40-minute show. Highlight of the 
femme routines is the "Manhattan 
Scene” production by Miss Rand 
which scores heavily. 

The girls are also spotted in 
"Fan Ballet,” which is the build- 
eroo for the star’s entry with her 
fan routine. La Rand still handles 
her weapons in precision-like 
fashion and 'is socko in her grace, 
showmanship and selling style. She 
knows her biz — knows her audi- 
ence and injects a “ladyship” at- 
mosphere into her strip-fan por- 
tion. The audience was with her 
all the way at show caught. 

Henry Rodidger, who accomps 
the entire production on the Ham- 
mond, is a show by himself. A 
one-man pit band, he moves the 
show along musically without a 
flaw. 

Roland Drayer is spotted as em- 
cee and featured singer, but is 
much stronger in the latter. He 
handles his patter sans any punch 
and occasionally goes aloof. But 
he bounces back in winning fashion 
with his pipes. He rocks ’em with 
his medley of "Oklahoma,” and 
then stops them with "Ireland.” 

Fred Werner in the deuce spot 
is okay as a cello performer but 
weak in the comic role. He wields 
a -neat bow on his cello, which is 
also loaded with laugh-getting 
props, but when he milks for ap- 
plause with his comedy routine, 
he falls flat. Werner salvages his 
act with a slick rendition of "Kiss 
Me.” Jimmy August, in a drunk 
dance and snappy military tap rou- 
tine in the finale with the entire 
company, scores easily. 

Miss Rand and troupe move on 
to Dallas for the Texas State Fair 
(Oct. 4-19). After that, she'll wrap 
up her show and take a hiatus 
until next year. Matt. 


Wednesday, October 1 , I952 

IPs Not Illegal * 

To Spike Drinks 
Mpls. Court Holds 

Minneapolis, Sept. 30. 
Local niteries that keep open 
after liquor hours, to serve food 
aqd on Sundays when the sale of 
any beverage stronger than 3.2 
beer is prohibited, are affected by 
Municipal Judge Tom Bergin hold- 
ing that a city council ordinance 
banning "spiking” is illegal. 

The 1400 Club, which does the 
bulk of its business after niteries 
and other liquor spots are closed, 
had been raided for allegedly 
serving ginger ale and other setups 
and permitting patrons to spike 
them. 

Judge Bergin dismissed the 
charges against the establishment’s 
co-owner and a waitress. It was 
the second time in a year and a 
half that a spiking case has been 
tossed out of court on a legal tech- 
nicality. Another judge had ruled 
the ordinance unconstitutional in 
a case involving a restaurant with- 
out a liquor license. 


I 



. Eric Thorsen booked for the 
Rice Hotel, Houston, Oct. 30, and 
the Schroeder, Milwaukee, Dec. 2. 


Peter Kourmpates, 33-year-old 
aerialist who died in Chatham, 
N.B., last August after an 80-foot 
fall, was partnered with his 
brother, William, in the act known 
as the Barrett Bros. The brother’s 
name had previously been re- 
ported as Paul. . * 


Chicago's 

NEW LAWRENCE 

HOTEL 



8PECIAL 
PROFESSIONAL 
RATES 

Lawrenee & Kenmore Avenues at Sheridan Road 
Ch lease A0, lllinels LOngbiach 1-2100 



THATv 
FABULOUSI 
FOURSOME 


Just Concluded Their Second 
Engagement Within Three Months at 

THE FLAME, Akron 

WILLIAM MORRIS AGENCY 
Chicago, III, * 

Personal Management: 
HARRY LAWRENCE, New York 


ROGER 

CARNE 

and CANASTA the Cat 

ENTERTAINING THE 
ROYS IN KOREA 

Direction 

WM. MORRIS AOit.CY 


.From Nottingham Journal: 

"Following BOB HOFE at tho Palladium is a for- 
midable task for an American comedian, but it 
did not daunt GEORGIE KAYE tonight. 

"Working steadily from the ordinary to the ex- 
traordinary, with a calm and assured line of 
patter, he brought the house down in easy stages." 


"His impressions are gems and he comes through 
to solid hit. His performance is a must and ho 
should quickly be as popular here as he evi- 
dently is in his native America." 

THE PERFORMER. 


"Thank you Georgia for a great job; come back soon." — VAL PARNELL 

* GEORGIE KAYE * 


Just 

Concluded 


LONDON PALLADIUM 

Direction: JACK DAVIES Thanks LEW AND LESLIE GRADE, VAL PARNELL, EDDIE ELKORT 

★ ★★★★★★★★★★★★★★★★ ★ ★ ★ ★ 



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CONGO ROOM AT THE 

ENCHANTING HOTEL SAHARA 
IN LAS VEGAS • NEVADA 


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TOR THE OWNING OF THE NEW HQTEE SAHARA 

TUESDAY , OCTOBER 7*h. . 


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Wednesday, Oclol>ei* 1, X9S2 


✓ 

Limited Partnership Financing Rears 
Head in Burlesque Via N. J. s Ex-Keith 


Limited partnerships, a major 
method of legit show financing, has 
jnow hit the burlesque field for 
the first time. The Colony Thea- 
tre, Union City, N. J„ is now at- 
tempting to raise $35,000 to capi- 
talize the- operation of that house. 
It was formerly the B. F. Keith 
vaude house and until recently 
was operated as a filmer. 

According to the prospectus, 
general partner will be Harry W. 
Doniger, who has operated thea- 
tres in New York. Sam Steinman, 
New York flack, will do publicity 
and advertising. Shares in the set- 
up ranging from one-seventh of 
1% to $35,000 for 50% are avail- 
able. Lowest unit is selling for 
$ 100 . 

Union City is already w.k. as a 
burley centre because of the Hud- 


son Theatre, which for many years 
has drawn on New York for a 
healthy share of its audience. 
Gotham has been without an op- 
eration labelled “burlesque” or 
“follies” for a decade since the 
late Mayor Fiorello H. LaGuardia 
banned reissue of licenses to 
burley theatres. 

Prospectus claims that operating 
permit has been assured following 
completion Of stage alterations. It's 
planned to run two shows daily. 
House has been leased for 21 
years. Rental, it’s claimed, is $13,- 
000 annually and outlay of $12,000 
is necessary to get the house ready 
for business. Remainder will be 
utilized as working capital. 

It’s claimed that operation calls 
for $250 weekly rental and $750 
for extensive advertising and total 



LAHORE and VERNA 

AMERICA'S* MOST EXCITING DANCERS 


CURRENTLY 

Cl RO'S 

IN HOLLYWOOD 



DIRECTION: 

HANS LEDERER and 
LEW AND LESLIE GRADE, INC., LTD. 


cost of doing a show will be less 
than $5,000. Union agreements re- 
quire four stagehands and five mu- 
sicians. Beckman & Pransky will 
book. Seating capacity is 901. A 
$1.75 top is planned on a reserved- 
S€3t basis. 

There has been some pressure 
for reopening of N. Y. to bur- 
lesque. The Theatrical Fact Finding 
Committee has been working on 
that situation for more than a 
year, but no results have been at- 
tained as yet. However, the com- 
mittee is still hopeful that the 
Gotham coin now going to Union 
City will stay in New York. 

Video Names’ 
1-Niter Fling 

Theatre and nitery operators 
within a wide radius of New York 
are hopeful of getting a flock of 
television names on a one-night 
basis. Managements have been en- 
couraged by the booking offices 
to feel that they’ll be able to get 
many headliners for a -part of the 
week. 

Patti Page has played some one- 
nighters between video assign- 
ments. Robert Q. Lewis is set for 
a series of dates, which included 
Hartford, over .the weekend. 
It’s expected that other headliners 
will be lining up dates to keep 
them occupied between video ses- 
sions. 

EX-GJK. COLLIGAN SUES 
S0NJA HEME FOR 20G 

Chicago, Sept. 30. 
James J. Colligan, former gen- 
eral manager of the Sonja Heme 
ice show, has filed a $20,000 suit 
against Miss Henie in Superior 

Court here. * 

Colligan alleges that Miss Heme 
broke a verbal agreement to keep 
him as manager until the show 
ended its run* next March. He 
claims he was fired Sept. 13, and 
| Miss Henie’s attorney, Jerry Gies- 
ler, said Colligan resigned. 

The $20,000 is the amount Colli- 
■ gan would have received from his 
| $600 weekly salary. Show closed 
its Chicago run Sunday (28\ 

Saranac Lake 

By Happy Benway 
Saranac Lake, N. Y., Sept. 30. 

Dr. Homer McCreary, our house 
medico who is also head man with 
the Saranac Lake Rehabilitation 
Guild, has enlisted the following 
patients to do leather articles on 
order for Christmas gifts: Ken 
Derby. John (IATSE) Streeper. 
Ted (TV) Brenner, Joe Fenessey, 
Raymond (Loew) McCarthy and 
| Thomas (Carnival) Lewey. 

A bow to Jack Beck, manager 
of Globe Theatre, Atlantic City, 
for sending us good old salt water 
taffy. 

Coleman Shirley Houff, Pitt- 
Roth technician who mastered ma- 
jor surgery, is off to Washington 
for his first furlough out of the 
san. 

Jean Ellis (Interstate circuit) did 
her hitch in the observation domi- 
cile, took surgery and is now a 
full-fledged member of the ambu-. 
latory department. 

Mac Kaufman, piano wiz who has 
memorized some 5,000 songs, in for 
a chat with this columnist and ar- 
ranged for a concert to be given 
for the gang at an early date. 

Colonial Inn, local nitery, has 
changed hands with Anthony R. 
Brindis the new operator and man 
[ ager. 1 

| Theresa Loomis (Columbia Pic- 
tures) off to Gotham to attend the 
funeral of her uncle. 

Double birthday party was ten- 
dered Audrey Lumpkin (IATSE) 
and this mugg in the main lounge 
of the VC hospital. It was a sur- 
prise classic, with buffet lunch, re- 
freshments. and entertainment by 
Roberta. Party was sponsored by 
“We The Patients.” 

Write to those who are ill. 


Sugar Ray Saves Cafe From KO 

New York’s Havana-Madrid, which passed into history last week 
and became the Club 500, installing a Negro show policy, had 
about as much misfortune as a nitery can undergo on its preem. 
Spot on opening night (25) couldn’t locate the arranger who had 
taken all the music to his home. Cafe emissaries declared that 
they couldn’t rouse him from his apartment. 

Result was an improvised show that had little sense or form. 
Bill Bailey, Johnny Hudgins, and the Fontaines (2) went through 
the motions of their act, but with little satisfaction either from a 
personal or audience viewpoint. The line, however, couldn't hide 
the fact that it had looks and okay costumes. 

The evening was saved from complete blotto by Sugar Ray Rob- 
inson the fight champ, who aspires to do a dance act in the future. 
Robinson got on the floor, hosted graciously and persuaded some 
name performers in the crowd to contribute a few minutes. The 
American Guild of Variety Artists forbids talent to do their acts 
for free on nitery floors. So Variety isn’t blowing the whistle by 
mentioning names. * Jose - 


CAPPELLA & PATRICIA 
BACK AFTER 4i YRS. 

Jacques Cappella it Patricia are 
returning to the U. S. on the Sept. 
30 sailing of the Caronia from 
Europe, after four and a half years 
on the Continent. Ballroomers have 
played the Savoy Theatre and Ho- 
tel; the Hippodrome, London, as 
well as dates in the key Continen- 
tal cities and- North Africa. 

Duo also played 15 days in Ger- 
many during that time. 

Eck-Basie-Shearing Unit 
To Bow in Ft. Wayne Aud. 

Fort Wayne, Sept. 30. 

First entertainment to be offered 
in this city’s new 10,000-seat War 
Memorial Coliseum, which was for- 
mally dedicated Sunday (28), will 
be the Billy Eckstein-Count Basie- 
George Shearing show, skedded 
Oct. 15. The package is being pro- 
moted by John Apt, operator of a 
local ballroom, who said he plans 
to present other talent shows later 
in the new arena. 

A full week of programs is on for 
the dedication week, including a 
square dance jamboree, free to the 
public, and an ice skating festival, 
also cuffo. 

A free industrial exhibit is being 
held in the basement exhibition 
hall from Sept. 28 to Oct. 2, spon- 
sored by the manufacturers’ com- 
mittee of the Chamber of Com- 
merce. 

The 1953 Shrine Circus (Polack 
Bros.) has been booked for the 
Coliseum early in February. 


Rooney Unit for Reno 

-Mickey Rooney has been signed 
for the Riverside, Reno, starting 
Nov. 6 or 13. Rooney heads his own 
package. 

Deal was set by the William Mor- 
ris Agency. 


AM to Your Income! 
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23 Flatbusk Av«., Brooklyn 

Opposite Fox Theatre 


Kaye’s 5(3 for S. F. Crix; 
Big Advance for 2d Run 

San Francisco, Sept. 30. 
Danny Kaye’s special benefit 
matinee, sponsored by the San 
Francisco Critics Council on Sun- 
day (21), scored a sock $5,000. The 
1,758-seat Curran was scaled to 
$4.80. The matinee was sand- 
wiched between the afternoon and 
evening performances. 

Kaye wound up his 21-perform- 
ance stand that night with a reeprd 
gross of $110,900. Advance sale*; 
for repeat two-week engagement 
starting Oct. 6 are already piling 
up with expectations that the sec- 
ond run will equal the smash of 
the previous. 



‘OpryV 6G 


Richmond. Va., Sept. 30. 

First of four “Grand Ole Opry” 
units scheduled here this season 
played the 4,865-seat Mosque for 
two performances on. Sunday' (21) 
to